2008 A Meeting for German and French Filmmakers ... - German Films
2008 A Meeting for German and French Filmmakers ... - German Films
2008 A Meeting for German and French Filmmakers ... - German Films
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<strong>German</strong> <strong>Films</strong><br />
Quarterly 4 · <strong>2008</strong><br />
AT ROME<br />
Cinema <strong>2008</strong> Competition<br />
LONG SHADOWS by Connie Walther<br />
Anteprima-Premiere<br />
THE BAADER MEINHOF COMPLEX by Uli Edel<br />
PORTRAITS<br />
Directors Hannes Stoehr<br />
& Neele Leana Vollmar,<br />
Rat Pack Filmproduktion,<br />
Actor David Kross
<strong>German</strong> <strong>Films</strong> Quarterly 4 · <strong>2008</strong><br />
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directors’ portraits<br />
GLOBAL STORYTELLER<br />
A portrait of Hannes Stoehr<br />
A SENSE OF FAMILY<br />
A portrait of Neele Leana Vollmar<br />
producers’ portrait<br />
PACKING A PUNCH<br />
A portrait of Rat Pack Filmproduktion<br />
actor’s portrait<br />
NORTHERN LIGHT IN THE MOVIE SKY<br />
A portrait of David Kross<br />
news<br />
in production<br />
24 STUNDEN SCHLESISCHES TOR<br />
Eva Lia Reinegger, Anna de Paoli<br />
BERLIN<br />
Michael Ballhaus, Ciro Cappellari<br />
DIE FREMDE<br />
Feo Aladag<br />
DER GROSSE KATER<br />
Wolfgang Panzer<br />
HAUS UND KIND<br />
Andreas Kleinert<br />
HILDE<br />
Kai Wessel<br />
HITLER VOR GERICHT<br />
Bernd Fischerauer<br />
KINDERSUCHE<br />
Miguel Alex<strong>and</strong>re<br />
MAENNERSACHE<br />
Gernot Roll, Mario Barth<br />
ROMY<br />
Torsten C. Fischer<br />
ROSAMUNDE PILCHER: VIER JAHRESZEITEN<br />
Giles Foster<br />
SCHWERKRAFT<br />
Maximilian Erlenwein<br />
THIS IS LOVE<br />
Matthias Glasner<br />
TRANSFER<br />
Damir Lukacevic<br />
UNTER BAUERN<br />
Ludi Boeken<br />
new german films<br />
9TO5 – DAYS IN PORN<br />
Jens Hoffmann<br />
88 – PILGERN AUF JAPANISCH 88 – PILGRIMAGE IN JAPANESE<br />
Gerald Koll<br />
ADEMS SOHN ADEM’S SON<br />
Hakan Savas Mican<br />
ANONYMA — EINE FRAU IN BERLIN A WOMAN IN BERLIN<br />
Max Faerberboeck
36<br />
37<br />
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DER BAADER MEINHOF KOMPLEX THE BAADER MEINHOF COMPLEX<br />
Uli Edel<br />
DIE BIENEN – TOEDLICHE BEDROHUNG KILLERBEES<br />
Michael Karen<br />
BUDDENBROOKS BUDDENBROOKS – THE DECLINE OF A FAMILY<br />
Heinrich Breloer<br />
DEM KUEHLEN MORGEN ENTGEGEN INTO THE COLD DAWN<br />
Oliver Becker, Katharina Bruner<br />
FINNISCHER TANGO FINNISH TANGO<br />
Buket Alakus<br />
FRECHE MAEDCHEN CHEEKY GIRLS<br />
Ute Wiel<strong>and</strong><br />
GELIEBTE CLARA CLARA<br />
Helma S<strong>and</strong>ers-Brahms<br />
HINTER KAIFECK KAIFECK MURDER<br />
Esther Gronenborn<br />
HOTEL SAHARA<br />
Bettina Haasen<br />
IN JEDER SEKUNDE AT ANY SECOND<br />
Jan Fehse<br />
JERICHOW<br />
Christian Petzold<br />
KRABAT<br />
Marco Kreuzpaintner<br />
MA’RIB<br />
Rainer Komers<br />
MIKE FIGGIS – THE SEDUCTION OF THE EYE<br />
Ina Borrmann<br />
DAS MORPHUS-GEHEIMNIS MYSTERY OF MORPHUS<br />
Karola Hattop<br />
NARRENSPIEL FOOL’S GAME<br />
Markus F. Adrian<br />
NEBEN DER SPUR TOUR EXCESS<br />
Detlef Bothe<br />
NOBODY’S PERFECT<br />
Niko von Glasow<br />
DER PFAD DES KRIEGERS THE WAY OF A WARRIOR<br />
Andreas Pichler<br />
SCHATTENWELT LONG SHADOWS<br />
Connie Walther<br />
SHORT CUT TO HOLLYWOOD<br />
Marcus Mittermeier, Jan Henrik Stahlberg<br />
STANDESGEMAESS NOBLE COMMITMENTS<br />
Julia von Heinz<br />
U-900<br />
Sven Unterwaldt<br />
WARTEN AUF ANGELINA WAITING FOR ANGELINA<br />
Hans-Christoph Blumenberg<br />
WELTSTADT CITY OF THE WORLD<br />
Christian Kl<strong>and</strong>t<br />
ZWEIER OHNE COXLESS PAIR<br />
Jobst Christian Oetzmann<br />
film exporters<br />
<strong>for</strong>eign representatives · imprint
Hannes Stoehr (photo © Filmfestival Locarno)<br />
DIRECTOR’S PORTRAIT<br />
Hannes Stoehr was born in Stuttgart in 1970 <strong>and</strong> studied<br />
European Law at the University of Passau after completing his civilian<br />
service <strong>and</strong> a nine-month trip through South America. He then studied<br />
Scriptwriting <strong>and</strong> Directing at the <strong>German</strong> Film & Television<br />
Academy Berlin (dffb) from 1995 to 1999. After a number of shorts<br />
<strong>and</strong> medium-length documentaries, he made his feature directorial<br />
debut with Berlin is in <strong>German</strong>y in 2001, based on a 15-minute<br />
short with the same name from 1999. The film was shown at over 30<br />
festivals worldwide <strong>and</strong> released theatrically in <strong>German</strong>y, France,<br />
Spain <strong>and</strong> Turkey, winning prizes at festivals in Poitiers, Valencia <strong>and</strong><br />
Annonay. In <strong>German</strong>y, the film received, among others, the Panorama<br />
Audience Award at the 2001 Berlinale, the <strong>German</strong> Film Critics’<br />
Award <strong>for</strong> actor Joerg Schuettauf, 1st Prize in Studio Hamburg’s Next<br />
Generation Competition, the New Faces Award <strong>for</strong> Best Young<br />
Director 2002, <strong>and</strong> the Association of <strong>German</strong> Film Critics’ Award<br />
<strong>for</strong> Best Film 2002. In 2003, he wrote <strong>and</strong> directed the Tatort TV<br />
movie Odins Rache which was nominated <strong>for</strong> the <strong>German</strong> <strong>and</strong><br />
European CIVIS Television Award 2004 <strong>and</strong> received the <strong>German</strong><br />
Television Award 2004 in the category of Best Supporting Role <strong>for</strong><br />
actress S<strong>and</strong>ra Borgmann. His second feature film, One Day in<br />
Europe, was invited to the Official Competition of the 2005<br />
Berlinale, screened at over 30 other festivals around the world <strong>and</strong><br />
was released abroad in cinemas in Japan, Spain, Turkey, the UK,<br />
Pol<strong>and</strong>, <strong>and</strong> Russia. In 2006, he obtained a writing fellowship <strong>for</strong> the<br />
Villa Aurora in Los Angeles to work on the project Forty Eighters<br />
<strong>and</strong> directed his third feature Berlin Calling in the summer 2007.<br />
Starring the electronic composer Paul Kalkbrenner, who also wrote<br />
the film’s score, Berlin Calling had its world premiere on the<br />
Piazza Gr<strong>and</strong>e in Locarno this August. Hannes Stoehr works as a<br />
scriptwriter <strong>and</strong> director in Berlin <strong>and</strong> is a lecturer at the dffb <strong>and</strong> the<br />
Baden-Wuerttemberg Film Academy. His other films include: Biete<br />
Argentinien, Suche Europa (short, 1995), Lieber Cuba<br />
Libre (documentary, 1997), Prawda (short, 1998), <strong>and</strong> Gosh –<br />
Live in Paris (documentary, 1998).<br />
Agent:<br />
Above the Line GmbH · Uschi Keil<br />
Wiel<strong>and</strong>strasse 5 · 10625 Berlin/<strong>German</strong>y<br />
phone +49-30-2 88 77 30 · fax +49-30-28 87 73 10<br />
email: buero-berlin@abovetheline.de<br />
www.abovetheline.de · www.stoehrfilm.eu<br />
GLOBAL<br />
STORYTELLER<br />
A portrait of Hannes Stoehr<br />
Thoughtfully entertaining rather than sermonizing – that’s the goal of<br />
director Hannes Stoehr whose latest feature Berlin Calling<br />
had its world premiere on the Piazza Gr<strong>and</strong>e at the Locarno<br />
International Film Festival in August <strong>2008</strong>.<br />
“I see myself as more of a clown than a priest,” says Hannes. “I love<br />
solid storytelling which is based on research. Reality is complex, the<br />
main thing is to find the right angle <strong>for</strong> your story. And the right tone:<br />
I prefer tragicomedies.”<br />
german films quarterly director’s portrait<br />
4 · <strong>2008</strong> 4
Hannes was born in Stuttgart <strong>and</strong> grew up in Hechingen in Baden-<br />
Wuerttemberg. Be<strong>for</strong>e <strong>and</strong> after civil service, he did extended backpacking<br />
tours through Central <strong>and</strong> South America. He then studied<br />
Law, but his involvement in various art projects making films made<br />
him decide to “turn my hobby into a profession.” In 1994, he moved<br />
to Berlin.<br />
Hannes became part of an underground-style filmmaking movement<br />
in the reunified capital, “which was really anarchic, low budget <strong>and</strong> of<br />
course without any shooting permits. Everything was possible then<br />
because there was such a great energy in the air.”<br />
These Super 8 films were then shown at basement bars <strong>and</strong> can now<br />
also be viewed on Hannes’ own YouTube channel.<br />
“In fact, looking back, I think that this atmosphere at the beginning of<br />
the 90s in Berlin was very important to me,” he suggests. “It wasn’t<br />
just <strong>German</strong>s, because you seemed to have the whole world coming<br />
here to find answers. That energy is something you find in my films.”<br />
His application to Berlin’s <strong>German</strong> Film & Television Academy (dffb)<br />
was accepted in 1995 where he studied until 1999, making such films<br />
as the documentaries, Lieber Cuba Libre, Gosh – Live in<br />
Paris, <strong>and</strong> a 15-minute short version of his 2001 feature debut<br />
Berlin is in <strong>German</strong>y.<br />
Hannes admits that there may at times have been an ideological clash<br />
between him <strong>and</strong> dffb director Reinhard Hauff over his work, but he<br />
has nothing but respect <strong>for</strong> the veteran filmmaker’s humanism. “I<br />
learned a lot from Reinhard Hauff, although or maybe because he<br />
comes from a different generation.” Moreover, several of his fellow<br />
students from film school days have worked with him on subsequent<br />
projects such as DoPs Andreas Doub <strong>and</strong> Florian Hoffmeister, editor<br />
Anne Fabini <strong>and</strong> producer Karsten Aurich.<br />
Berlin is in <strong>German</strong>y stirred things up winning the Panorama<br />
Audience Award at the 2001 Berlinale, the <strong>German</strong> Film Critics Prize<br />
<strong>for</strong> Best Film 2002 <strong>and</strong> many others, including four international first<br />
film awards.<br />
This feature debut played in the here <strong>and</strong> now of 2001 Berlin whereas<br />
subsequent films about the recent <strong>German</strong> past, such as Wolfgang<br />
Becker’s Good Bye, Lenin! or Florian Henckel von Donnersmarck’s The<br />
Lives of Others, were set during the GDR or in the autumn of ’89.<br />
“I saw myself more in the present,” Hannes explains. “The important<br />
thing <strong>for</strong> me here was that a wall comes down <strong>and</strong>, from one day to<br />
the next, a human experiment begins which had never taken place<br />
be<strong>for</strong>e. A country is divided <strong>and</strong> is then brought back together.”<br />
“With my first film I <strong>for</strong>tunately had the chance to travel around the<br />
world <strong>and</strong> see what is important <strong>for</strong> a <strong>German</strong> film,” Hannes continues.<br />
“My generation of filmmakers is quite privileged because after<br />
the Second World War people had had enough of the <strong>German</strong>s,<br />
something which I can underst<strong>and</strong> fully. But after the fall of the Berlin<br />
Wall, the interest in <strong>German</strong> culture has come back strongly. People<br />
see that something is happening <strong>and</strong> the clichéd images of the Second<br />
World War are being changed. One can see more nuances there<br />
now.”<br />
Hannes loves traveling <strong>and</strong> speaks English, Spanish, <strong>French</strong> <strong>and</strong><br />
Portuguese. “I enjoy attending film festivals <strong>and</strong> being present <strong>for</strong> the<br />
releases of my films in other countries. I always try to tell my stories<br />
in a universal way. So, it is important to know the cinema styles of<br />
other countries.”<br />
His feature One Day in Europe – which had its premiere in the<br />
Official Competition of the Berlinale in 2005 – he describes as his response<br />
to “a historical European moment coming from this chance of<br />
the fall of the Wall” with interwoven stories set in Berlin, Moscow,<br />
Istanbul <strong>and</strong> Santiago de Compostela. The overall theme of the film<br />
was languages in Europe.<br />
And looking back now, Hannes says that he can see his three feature<br />
films as <strong>for</strong>ming a trilogy: “Berlin is in <strong>German</strong>y shows Berlin<br />
viewed from the alien perspective, One Day in Europe shows<br />
Berlin in the European context, <strong>and</strong> Berlin Calling is now the view<br />
from within.”<br />
As Hannes points out, it is not by coincidence that his three features<br />
to date all have English titles: “The titles may be English but the films<br />
have a very <strong>German</strong> content or at least a <strong>German</strong> point of view. The<br />
films are very local, but at the same time very universal. It worked<br />
out: Berlin is in <strong>German</strong>y <strong>and</strong> One Day in Europe were<br />
released in the cinemas in France, Spain, Turkey, Pol<strong>and</strong>, Russia, the<br />
UK <strong>and</strong> Japan, <strong>and</strong> elsewhere. “Also, English titles are an advantage in<br />
a Google world,” Hannes quips.<br />
At the moment, he is promoting the release of Berlin Calling in<br />
<strong>German</strong>y <strong>and</strong> is invited to several international festivals. Berlin<br />
Calling portrays the world of an electronic music composer, a tragicomedy<br />
in the Berlin of today, starring Paul Kalkbrenner, Rita<br />
Lengyel, Corinna Harfouch <strong>and</strong> Araba Walton. “Our main role <strong>and</strong><br />
musician, Paul Kalkbrenner, is an internationally known electronic<br />
music artist, so we have a worldwide audience on all continents<br />
around the globe. We are trying to also reach our global community<br />
by net guerilla activities through My Space, Facebook <strong>and</strong> YouTube.<br />
The Internet gives you a great opportunity to promote your film without<br />
having so much money,” Hannes adds. “We live in a time where<br />
global storytelling is possible. This is a great opportunity.”<br />
Hannes Stoehr spoke with Martin Blaney<br />
german films quarterly director’s portrait<br />
4 · <strong>2008</strong> 5
Neele Leana Vollmar (photo © Rick Ostermann)<br />
DIRECTOR’S PORTRAIT<br />
Neele Leana Vollmar was born in Bremen in 1978. After her<br />
schooling, she was a director’s assistant <strong>for</strong> various film productions,<br />
followed by studies in Directing at the Baden-Wuerttemberg Film<br />
Academy in Ludwigsburg from 2000 to 2005. She already demonstrated<br />
an interest in interpersonal relationships in her first short films<br />
like Sans une Parole (2001). Her enduring theme of the family<br />
first attracted attention in My Parents (Meine Eltern, 2003),<br />
which received several awards world-wide. She has developed more<br />
<strong>and</strong> more facets of cinematic relatives in the full-length features<br />
Vacation from Life (Urlaub vom Leben, 2004), Peaceful<br />
Times (Friedliche Zeiten, <strong>2008</strong>), <strong>and</strong> Maria, ihm<br />
schmeckt’s nicht (<strong>2008</strong>/2009, currently in production). During<br />
her studies, she received the Caligari Fellowship (2002), <strong>and</strong> participated<br />
in the Berlinale Talent Campus <strong>and</strong> the Hollywood<br />
Masterclass (2003). Together with Caroline Daube she established<br />
her own production company, Royal Pony Film, with a VGF grant. In<br />
future, Royal Pony Film hopes to realize projects by other directors as<br />
well, but first the aim is to make more films by Vollmar, written once<br />
again by the well-known scriptwriter Ruth Toma. Vollmar often falls<br />
back on a familiar team <strong>for</strong> her productions: in front of the camera,<br />
she employs regular actors like Gustav Peter Woehler or Anna<br />
Boetcher, <strong>and</strong> the cameraman is very often Pascal Schmitt. So she has<br />
even internalized her theme on set: “There, I am simply a family kind<br />
of person.”<br />
Contact:<br />
Royal Pony Film GmbH & Co. KG<br />
Bayerisches Filmzentrum<br />
Bavariafilmplatz 7 · 82031 Geiselgasteig/<strong>German</strong>y<br />
phone +49-89-64 98 11 20 · fax +49-89-64 98 13 20<br />
email: info@royalponyfilm.com · www.royalponyfilm.com<br />
A SENSE OF FAMILY<br />
A portrait of Neele Leana Vollmar<br />
Although she is the “family filmmaker” among young <strong>German</strong> directors,<br />
there is no sign of the quiet life in Neele Leana Vollmar’s<br />
work. In her film families, either the children or the parents are prone<br />
to depression, as a rule the family members are ashamed of each<br />
other, <strong>and</strong> talking to one another is the exception. Why does she like<br />
to plumb the depths of family life so much, driving her dysfunctional<br />
family members to the fringe of madness?<br />
When she is asked the reason <strong>for</strong> this, the lanky director from Bremen<br />
only laughs <strong>and</strong> shakes her head. “No, no, no. My own family is a<br />
dream family,” she assures us. They have a close relationship; her<br />
parents know almost everything about her. “It is precisely because<br />
things have always been so great <strong>for</strong> me that I look <strong>for</strong> the skeletons<br />
in the closet.” However, her mother is a little to blame <strong>for</strong> Vollmar’s<br />
favorite theme. After all, she showed her daughter Ingmar Bergman<br />
films at an early age: an object lesson in complicated souls <strong>and</strong> the<br />
inspiration <strong>for</strong> film material that Vollmar has already made into her<br />
specialty – from the hysterical short film My Parents to her tragicomic<br />
feature Peaceful Times. This film version of the novel was<br />
launched in <strong>German</strong> cinemas in September <strong>and</strong> the international premiere<br />
took place at the 32nd World Film Festival in Montreal shortly<br />
be<strong>for</strong>e that.<br />
She even succeeds in recounting people’s fears <strong>and</strong> tragic events in a<br />
light, laconic tone: Vollmar’s films are suited to an age in which life’s<br />
plans are becoming more <strong>and</strong> more complicated <strong>and</strong> the contradictions<br />
in almost every biography are evident. Her characters seem<br />
to say – so why don’t you tell me, what exactly is normal?<br />
german films quarterly director’s portrait<br />
4 · <strong>2008</strong> 6
These films appear to tread lightly, but they are also profound. And<br />
they touch people outside <strong>German</strong>y: My Parents won three prizes<br />
in Clermont-Ferr<strong>and</strong> in 2004. It is not surprising: when petit-bourgeois<br />
parents recreate the illusion of a once happy marriage <strong>and</strong><br />
actually find themselves <strong>and</strong> each other in the process, the idea has<br />
considerable potential <strong>for</strong> identification in any country. “They are<br />
situations that everyone has experienced at some time,” Vollmar says<br />
of her films. She loves the situation comedy that develops in relationships,<br />
but: “The story is always the most important thing, the laughter<br />
comes second.” Vollmar searches <strong>for</strong> poetry in everyday life: “I<br />
want my viewers to immerse themselves in the film <strong>for</strong> one or two<br />
hours, <strong>and</strong> <strong>for</strong> each person to leave the cinema with his own story<br />
afterwards.”<br />
Her most lavish project to date, Peaceful Times is set in the<br />
<strong>German</strong>y of the 1960s: the Striesow family have escaped from the<br />
GDR. Irene is still haunted by her memories of the East <strong>and</strong> her husb<strong>and</strong><br />
Dieter is a big dreamer, longing <strong>for</strong> America – the two could<br />
scarcely be less alike. The minor <strong>and</strong> major crises in life – as often in<br />
Vollmar’s films – are set off by ironic off-screen commentary. Here, it<br />
is the naive voice of one of the couple’s children that recounts the<br />
family drama. The mother constantly has fantasies of suicide in the<br />
film, certainly, but the viewer cannot hate her <strong>for</strong> it: an achievement<br />
of actress Katharina Schubert, as well as the direction.<br />
Film neuroses, the decor of the times, or shooting with children:<br />
Vollmar never balks at such challenges. She also refused to accept the<br />
pressure to make another scurrilous comedy after My Parents.<br />
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Indeed, melancholy dominated in Vacation from Life: a bank<br />
employee recognizes that his existence is no more than routine. And<br />
because Vollmar likes to get her own way, she made her student graduation<br />
project into a full-length film despite the opposition.<br />
Later, she founded her own production company, Royal Pony Film,<br />
together with Caroline Daube <strong>and</strong> made Peaceful Times. She<br />
refuses to be categorized, constantly seeking new facets of her film<br />
theme.<br />
The next one on the list is a witty, perceptive comedy; the film version<br />
of a book that has been very successful in <strong>German</strong>y – Maria, ihm<br />
schmeckt’s nicht by Jan Weiler. This Claussen+Woebke+Putz production<br />
centers on a <strong>German</strong>-Italian relationship <strong>and</strong> the resultant<br />
misunderst<strong>and</strong>ings: again <strong>and</strong> again, Vollmar focuses on the minor cultural<br />
clashes – between East <strong>and</strong> West, between bourgeois <strong>and</strong> dropout,<br />
between <strong>German</strong> <strong>and</strong> Italian mentality. “I love the cliché,” she<br />
says, <strong>and</strong> adds that she loves to play with it. And often it conceals<br />
something that is simply true. But the sense of homelessness in a different<br />
culture felt by the main character is important to Vollmar as<br />
well. That is what gives the comedy its depth.<br />
Even though her parents sometimes find it annoying to be asked constantly<br />
what went wrong when they were bringing up their daughter:<br />
Vollmar is not working off any kind of trauma. She has merely found<br />
a lively source of inspiration.<br />
Christoph Groener spoke with Neele Leana Vollmar<br />
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Anita Schneider, Christian Becker (photo courtesy of Rat Pack Filmproduktion)<br />
PRODUCERS’ PORTRAIT<br />
Rat Pack Filmproduktion was founded in 2001 by Christian<br />
Becker <strong>and</strong> Anita Schneider as a production house <strong>for</strong> feature<br />
films, TV movies, <strong>and</strong> international event productions with Constantin<br />
Film as a shareholder. A graduate of Munich’s University of Television<br />
& Film (HFF), Becker had produced such films as Bang Boom Bang,<br />
Kanak Attack, Was nicht passt …, 7 Days To Live <strong>and</strong> Das Phantom<br />
whilst serving as shareholder <strong>and</strong> managing director of Indigo<br />
Filmproduktion <strong>and</strong> Becker & Haeberle Filmproduktion be<strong>for</strong>e joining<br />
<strong>for</strong>ces with Curt Cress <strong>and</strong> Michael Bischoff to launch F.A.M.E. Film &<br />
Music Entertainment on the Frankfurt stock exchange in 2000.<br />
Meanwhile, Schneider, who oversees business affairs at Rat Pack, has<br />
several years of experience working <strong>for</strong> such companies as Bavaria<br />
Film, ProSiebenSat.1 <strong>and</strong> Indigo Film/F.A.M.E. Rat Pack’s productions<br />
include: Hunt <strong>for</strong> the Hidden Relic (Das Jesus Video, dir:<br />
Sebastian Niemann, 2002, TV), Blood of the Templars (Das<br />
Blut der Templer, dir: Florian Baxmeyer, 2005, TV), ProSieben<br />
Fairy Tales (Die ProSieben Maerchenstunde, various<br />
directors, 2005-2007, TV), Goldene Zeiten (dir: Peter Thorwarth,<br />
2005), Hui Buh – The Goofy Ghost (Hui Buh – Das<br />
“Big entertainment – that’s our goal <strong>and</strong> what we like to see ourselves,”<br />
says producer Christian Becker about the strategy of the<br />
Munich-based production house Rat Pack Filmproduktion he<br />
founded with Constantin Film AG, Anita Schneider <strong>and</strong> a group<br />
of screenwriters <strong>and</strong> directors in 2001.<br />
Schlossgespenst, dir: Sebastian Niemann, 2006), The Vexxer<br />
(Neues vom Wixxer, dirs: Cyril Boss <strong>and</strong> Philipp Stennert, 2007),<br />
The Wave (Die Welle, dir: Dennis Gansel, <strong>2008</strong>), ProSieben<br />
Funny Movies (various directors, <strong>2008</strong>, TV), Killing is My<br />
Business, Honey (Mord ist mein Geschaeft, Liebling, dir:<br />
Sebastian Niemann, <strong>2008</strong>/2009, post-prod), Vorstadtkrokodile<br />
(dir: Christian Ditter, 2009, post-prod), Vickie the Viking<br />
(Wickie und die starken Maenner, dir: Michael “Bully”<br />
Herbig, 2009, in production), Jerry Cotton (dirs: Cyril Boss <strong>and</strong><br />
Philipp Stennert, in preparation), The Dawn (dir: Dennis Gansel, in<br />
preparation) <strong>and</strong> Jim Button <strong>and</strong> Luke the Engine Driver<br />
(Jim Knopf und Lukas der Lokomotivfuehrer, dir:<br />
Sebastian Niemann, in preparation).<br />
Contact:<br />
Rat Pack Filmproduktion GmbH<br />
Beethovenplatz 2 · 80336 Munich/<strong>German</strong>y<br />
phone +49-89-1 21 14 87 12 · fax +49-89-1 21 14 87 77<br />
email: office@ratpack-film.de · www.ratpack-film.de<br />
PACKING A PUNCH<br />
A portrait of Rat Pack Filmproduktion<br />
As Becker <strong>and</strong> Schneider explain, their company’s name refers to the<br />
legendary Rat Pack of entertainers led by Frank Sinatra <strong>and</strong> Dean<br />
Martin with Sammy Davis, Jr., Peter Law<strong>for</strong>d <strong>and</strong> Joey Bishop, who<br />
were friends <strong>and</strong> worked <strong>and</strong> partied together in the 1950s.<br />
german films quarterly producers’ portrait<br />
4 · <strong>2008</strong> 8
“Drawing on the original Rat Pack idea, the company aimed to bring<br />
people together who fitted well together, got on with one another<br />
<strong>and</strong> wanted to make films together,” Becker recalls.<br />
In fact, the core team of collaborators at Rat Pack had been working<br />
together since their film school days in the mid-1990s at Munich’s<br />
University of Television & Film (HFF): “I have always worked with<br />
Peter Thorwarth, starting with his short films Mafia Pizza Razzia <strong>and</strong><br />
Was nicht passt, wird passend gemacht <strong>and</strong> then going on to his feature<br />
film Bang Boom Bang, the feature-length version of Was nicht passt …<br />
<strong>and</strong> Goldene Zeiten. The same is with Dennis Gansel with Wrong Trip<br />
<strong>and</strong> Living Dead leading to his first feature-length project Das Phantom<br />
<strong>and</strong> now The Wave.”<br />
“Sebastian Niemann was someone to emulate because he was two<br />
years above me at film school <strong>and</strong> had already worked with Rainer<br />
Matsutani on Over My Dead Body (Nur ueber meine Leiche),” says<br />
Becker. Their first collaboration was the TV movie Biikenbrennen –<br />
made <strong>for</strong> Indigo Filmproduktion <strong>and</strong> Becker&Haeberle Filmproduktion,<br />
the production companies Becker set up with <strong>for</strong>mer<br />
Kinowelt founder Thomas Haeberle after his graduation from the<br />
HFF.<br />
“It was such a sensational feature debut that we said we would do all<br />
of our projects together from now on,” Becker recalls. They followed<br />
the TV movie with an English-language feature film 7 Days To Live<br />
aimed at the international market, produced by Indigo Filmproduktion.<br />
Niemann <strong>and</strong> Becker came together <strong>for</strong> Rat Pack’s first big production<br />
Hunt <strong>for</strong> the Hidden Relic which was shot on location<br />
in Morocco doubling up <strong>for</strong> Israel. “This production scored the best<br />
ever ratings <strong>for</strong> a <strong>German</strong> TV mini-series on ProSieben <strong>and</strong> the<br />
record still st<strong>and</strong>s,” notes Anita Schneider who is “responsible <strong>for</strong> the<br />
business <strong>and</strong> financial side of the company’s operation <strong>and</strong> keeps an<br />
eye on the budgets, while Christian is the one coming up with the<br />
ideas <strong>for</strong> our projects.”<br />
Rat Pack began with a focus on working <strong>for</strong> <strong>German</strong> television – ranging<br />
from such TV movies as Hunt <strong>for</strong> the Hidden Relic or<br />
Blood of the Templars as well as the comedy series the<br />
ProSieben Fairy Tales <strong>and</strong> the ProSieben Funny Movies<br />
– but Becker <strong>and</strong> Schneider are aiming “to get to a situation where we<br />
can make something in English every two years, although <strong>German</strong> TV<br />
programs <strong>and</strong> feature films will continue to be our area of emphasis.”<br />
Thus, next year will see the company embarking on an English-language<br />
remake of Hunt <strong>for</strong> the Hidden Relic, to be shot again<br />
by Sebastian Niemann with the same team <strong>and</strong> an international cast.<br />
“The story will be more compressed, nearer to the novel, more<br />
action-laden, everything bigger <strong>and</strong> louder!,” Becker explains.<br />
The fairy tales series has worked its way through the Brothers Grimm<br />
<strong>and</strong> will now turn its attention to the Arabian Tales – with a change of<br />
production location from studio sets built in warehouses outside<br />
Prague to the Antalya Studios in Turkey. “However, we will continue<br />
to use the Czech craftsmen because they are really world class. You<br />
don’t see anything like this elsewhere in Europe.”<br />
The work <strong>for</strong> television also enables Rat Pack to try out young writers<br />
<strong>and</strong> directors who can then progress to feature projects. A case<br />
in point is the directorial duo Cyril Boss <strong>and</strong> Philipp Stennert. “We are<br />
really proud that we have accompanied their careers from the first<br />
steps after film school,” Becker says. “At Indigo we had developed TV<br />
movies with them <strong>and</strong> they wrote a lot <strong>for</strong> the Was nicht passt … TV<br />
series at Westside [the NRW-based sister company of Rat Pack].<br />
They then wrote scripts <strong>for</strong> the fairy tales series <strong>and</strong> directed some<br />
episodes. The next step was <strong>for</strong> them to take on directing the feature<br />
film The Vexxer.”<br />
The next project Rat Pack is planning with the duo is a feature film<br />
around the 1960s cult detective Jerry Cotton, which will be the company’s<br />
first flagship project <strong>for</strong> 2009. Becker promises “a fantastic<br />
new interpretation which will be like the way people approached<br />
Starsky & Hutch. It won’t be a parody because we take the character<br />
of Jerry Cotton very seriously but we see him a bit like Inspector<br />
Drebin in The Naked Gun. The film industry as well as the fans <strong>and</strong><br />
readers are already all very enthusiastic.”<br />
While the “bread <strong>and</strong> butter” TV projects keep Rat Pack quite busy,<br />
it is not idle on the feature film front either.<br />
Last winter saw Sebastian Niemann working on the comedy Killing<br />
is My Business, Honey in <strong>and</strong> around Berlin with a cast including<br />
Rick Kavanian, Nora Tschirner, Christan Tramitz, Gunther Kaufmann<br />
<strong>and</strong> movie icons Franco Nero <strong>and</strong> Bud Spencer. Warner Bros. will<br />
release the film next spring.<br />
“We had a great experience shooting in Berlin <strong>and</strong> Br<strong>and</strong>enburg on<br />
Dennis Gansel’s The Wave,” Becker recalls, adding that the reaction<br />
to this school drama, which has been seen by over 2.5 million<br />
cinemagoers in <strong>German</strong>y, “was the first time that one of our productions<br />
had such international recognition. We have received invitations<br />
to many festivals, won audience awards <strong>and</strong> have prints of the film<br />
traveling around all the time.”<br />
Meanwhile, this summer saw the company h<strong>and</strong>ling the production of<br />
two feature film projects at the same time: Christian Ditter’s adaptation<br />
of Max von der Gruen’s 1977 novel Vorstadtkrokodile,<br />
produced with Rat Pack’s Krefeld-based sister company Westside<br />
Filmproduktion <strong>and</strong> Constantin Film, <strong>and</strong> Michael “Bully” Herbig’s<br />
Vickie the Viking which is billed as the most expensive <strong>German</strong><br />
family entertainment film to be produced this year.<br />
And Becker <strong>and</strong> Schneider, together with their in-house creative producers<br />
Lena Olbrich, Nina Maag, Mathias Loesel <strong>and</strong> Simon Happ,<br />
have plenty in store <strong>for</strong> the future to keep <strong>German</strong> <strong>and</strong> international<br />
audiences on tenterhooks. Projects in development range from the<br />
vampire love story The Dawn <strong>and</strong> a war drama based on Gert<br />
Ledig’s novel Vergeltung – both to be directed by Dennis Gansel – to<br />
a plane catastrophe film <strong>and</strong> a western set during the Second World<br />
War by Peter Thorwarth.<br />
Three feature films are also in the works with Sebastian Niemann: the<br />
a<strong>for</strong>ementioned English remake of Hunt <strong>for</strong> the Hidden Relic,<br />
a big screen version of the children’s classic Jim Button <strong>and</strong><br />
Luke the Engine Driver, <strong>and</strong> a sequel to his 2006 film Hui Buh<br />
– The Goofy Ghost.<br />
“This time, it will be ’Hui Buh meets The Mummy’,” Becker explains.<br />
“After the first part was in dark woods <strong>and</strong> dungeons, the adventure’s<br />
journey will now be going to Egypt!”<br />
Christian Becker <strong>and</strong> Anita Schneider spoke with Martin Blaney<br />
german films quarterly producers’ portrait<br />
4 · <strong>2008</strong> 9
David Kross (photo © Andreas Muehe)<br />
ACTOR’S PORTRAIT<br />
David Kross was born in the small northern <strong>German</strong> town of<br />
Bargteheide in July 1990. After his first ef<strong>for</strong>ts at acting in a children’s<br />
theater group, news of his unusual talent – although he was only fifteen<br />
at the time – spread so fast that <strong>German</strong> director Detlev Buck<br />
invited him to a casting in Berlin. There, he successfully competed<br />
against 500 fellow applicants <strong>and</strong> l<strong>and</strong>ed his first leading role in<br />
Tough Enough (Knallhart). The role of Michael Polischka, who<br />
must come to terms with the hard life at a school in Berlin’s problem<br />
district Neukoelln, catapulted him into the film world’s field of vision<br />
overnight. His authentic per<strong>for</strong>mance met with great acclaim at the<br />
world premiere during the Berlinale in 2006, <strong>and</strong> in the following<br />
weeks the film drew 143,000 admissions to <strong>German</strong> cinemas <strong>and</strong><br />
triggered a socio-political debate in the <strong>German</strong> government about<br />
conditions at socially disadvantaged schools. Kross, who seemed<br />
astonishingly unaffected by all the fuss, subsequently secured the title<br />
role in the lavish filming of bestseller Krabat (<strong>2008</strong>) by director<br />
Marco Kreuzpaintner. The film, which screened in Toronto, was already<br />
much-discussed worldwide during shooting because of its opulent<br />
realization. The 18-year-old actor then drew the attention of<br />
Hollywood director Stephen Daldry, who casted Kross alongside<br />
Kate Winslet in his third key role in The Reader (<strong>2008</strong>), which<br />
looks set to further his faultless reputation.<br />
After this three-year, vertical take-off as <strong>German</strong>y’s leading young<br />
generation actor, David Kross took a short time off this August<br />
be<strong>for</strong>e the world premiere of Krabat, considering the future <strong>and</strong><br />
recuperating his energies. In a peaceful moment, we spoke to the<br />
young talent about a future that certainly seems to hold every opportunity.<br />
“When I made Tough Enough, I had no idea what furore the film<br />
would bring in its wake. I would probably have been much more ner-<br />
Agent:<br />
Schulze & Heyn FILM PR · Peter Schulze<br />
Rosa-Luxemburg-Strasse 17 · 10178 Berlin/<strong>German</strong>y<br />
phone +49-30-88 68 20 35 · fax +49-30-88 68 28 10<br />
email: schulze@film-pr.de · www.film-pr.de<br />
NORTHERN LIGHT<br />
IN THE MOVIE SKY<br />
A portrait of David Kross<br />
vous if I had known about the risks be<strong>for</strong>eh<strong>and</strong>.” David Kross gazes<br />
thoughtfully at the ground. Now, after three main roles, the 18-yearold<br />
talent naturally has a better underst<strong>and</strong>ing of the business, but in<br />
purely optical terms, he has lost nothing of his youthful integrity. His<br />
facial features may have become more striking, but the sparkle in his<br />
eyes still reflects the mixture of profundity <strong>and</strong> post-pubertal vehemence<br />
that directors regard as the secret of his natural style of acting.<br />
“He acts as if he has been doing nothing else all his life,” director<br />
german films quarterly actor’s portrait<br />
4 · <strong>2008</strong> 10
Marco Kreuzpaintner enthuses. And he should know – <strong>for</strong> several<br />
weeks, he filmed Krabat together with Kross in deepest Romania –<br />
<strong>and</strong> he expresses only what almost everyone on the set thought of<br />
the young talent. Kross’ down-to-earth personality <strong>and</strong> professionalism<br />
were even obvious after shooting was over <strong>for</strong> the day: while his<br />
fellow actors spent the evenings in provincial bars, Kross stayed in his<br />
hotel room, learned his texts, <strong>and</strong> studied on the Internet <strong>for</strong> his<br />
secondary school graduation exams. “Actually, I was quite frightened<br />
of the part, because in this film a lot depended on my per<strong>for</strong>mance,"<br />
Kross sums up in retrospect. "And by contrast to Tough Enough,<br />
in the case of Krabat I knew just what I was up against.”<br />
The genre film produced by Claussen+Woebke+Putz is 120 minutes<br />
long, <strong>and</strong> Kross features in almost every scene. The tremendous past<br />
success of Otfried Preussler's original book made the role into quite<br />
a burden from the start. Krabat was sold more than 1.8 million<br />
times in <strong>German</strong>y, translated into 31 languages, <strong>and</strong> showered with<br />
prizes. Young as he was, Kross knew that if he failed with this film, his<br />
early laurels would be <strong>for</strong>gotten as rapidly as he had earned them.<br />
But that was highly unlikely, as must have been clear to any observant<br />
visitor to the set when they saw his level of concentration. While a<br />
hectic, up to 230-man team worked around him in the icy cold of the<br />
Carpathian Mountains, Kross listened patiently to Marco Kreuzpaintner’s<br />
explanations. As soon as the word 'action' had been spoken,<br />
his body pose, facial expression <strong>and</strong> breathing altered – <strong>and</strong> with<br />
astonishing speed <strong>and</strong> attention to detail, Kross – the lad from northern<br />
<strong>German</strong>y – turned into Krabat, a beggar boy from the 17th century.<br />
“Krabat is a small young man who has a hard time mentally <strong>and</strong><br />
financially after the death of his mother. He reacts in a rather passive<br />
way to the things that happen to him. But then he falls in love, grows<br />
up, begins to question things, <strong>and</strong> finally manages to act instead of just<br />
reacting.”<br />
This development into a thinking, acting individual is noticeable in<br />
Kross himself as well. When he saw the film <strong>for</strong> the first time at a special<br />
screening in Berlin, he analyzed his per<strong>for</strong>mance most perceptively.<br />
Afterwards, there was no word of self-praise, but a critical<br />
assessment of what he might have done better. “I cannot explain what<br />
exactly happens to me when I have to act in front of a camera. But I<br />
know that I need to experience a lot more in my life. Only experience<br />
of my own will help me to go on playing my parts well.”<br />
Nevertheless, according to eye-witnesses, he also gave an utterly<br />
competent per<strong>for</strong>mance in his shared love scenes with Kate Winslet<br />
in The Reader, brilliantly embodying the boy from a rich family<br />
who falls <strong>for</strong> the conductress on a train journey. But the 18-year-old<br />
actor still lacks assurance in personal conversations – he has a sympathetic,<br />
rather awkward manner. The media interest in his person<br />
apparently knows no end since Tough Enough, <strong>and</strong> several journalists<br />
crowding around a table pepper him with questions at interviews,<br />
but he is obviously not the sort of person who likes to hear<br />
himself speak or pat himself on the shoulder. “I have to confess that<br />
sometimes I am still rather uncertain,” Kross admits <strong>and</strong> then continues,<br />
“but perhaps that is quite a good thing <strong>for</strong> my roles. If I felt selfconfident,<br />
I would probably come onto the set without preparing so<br />
well.”<br />
From the human perspective, at least, David Kross has kept the rural<br />
mentality of a lad from the North: modest, reserved <strong>and</strong> with an eye<br />
<strong>for</strong> the truly important. Professionally, he comes across as someone<br />
who is already experienced <strong>and</strong> privately, he is in the process of finding<br />
his own way.<br />
“It is important that I remain true to myself,” Kross says. We have<br />
heard this statement from many an up-<strong>and</strong>-coming star be<strong>for</strong>e him,<br />
but very few sound as honest as this young actor, who looks <strong>for</strong>ward<br />
with anticipation but without exaggerated expectations to what lies<br />
ahead. “I don’t know what sort of reactions I will have to face after<br />
the premieres of Krabat <strong>and</strong> The Reader. But actually, I don’t<br />
really want to know. It is all the same to me where I end up working.<br />
The main thing is that I am involved in filming stories with material that<br />
works well.”<br />
In the meantime, David Kross has completed the first part of his own<br />
very personal story – <strong>and</strong> it has been a great success.<br />
Johannes Bonke spoke with David Kross<br />
german films quarterly actor’s portrait<br />
4 · <strong>2008</strong> 11
“The Baader Meinhof Complex” producer Bernd Eichinger, director Uli Edel (photo © <strong>2008</strong> Constantin Film Verleih GmbH)<br />
NEWS 4/<strong>2008</strong><br />
“THE BAADER MEINHOF COMPLEX” TO REPRESENT GERMANY<br />
IN THE RACE FOR THE ACADEMY AWARD ®<br />
The independent expert jury, appointed by <strong>German</strong> <strong>Films</strong> to select the<br />
<strong>German</strong> entry to compete <strong>for</strong> the Academy Award ® <strong>for</strong> the Best<br />
Foreign Language Film, has – under the chairmanship of Alfred<br />
Huermer – chosen The Baader Meinhof Complex by Uli Edel.<br />
The jury on its decision: “The brilliant per<strong>for</strong>mance by the entire cast<br />
<strong>and</strong> the extraordinary adaptation of the story allows a view of the<br />
early 70s in the Federal Republic of <strong>German</strong>y, without glorifying the<br />
perpetrators.”<br />
Produced by Constantin Film Produktion/Munich (producer: Bernd<br />
Eichinger), Nouvelles Editions de <strong>Films</strong>/Paris, <strong>and</strong> G.T. Film Production/Prague,<br />
the film, based on the book by Stefan Aust, was<br />
released in <strong>German</strong> cinemas on 25 September <strong>2008</strong> (distributor:<br />
Constantin Film Verleih/Munich).<br />
International sales are being h<strong>and</strong>led by Summit Entertainment/Los<br />
Angeles – The Baader Meinhof Complex has already been<br />
sold in the most important international territories.<br />
Bernd Eichinger on the jury’s decision: “Uli Edel <strong>and</strong> I are extremely<br />
pleased. We invested a lot of energy into this film <strong>and</strong> are proud to<br />
represent <strong>German</strong> cinema in the race <strong>for</strong> the Academy Award ® .”<br />
The Baader Meinhof Complex was supported by FilmFernsehFonds<br />
Bayern, Bayerischen Bankenfonds, the <strong>German</strong> Federal Film<br />
Board (FFA), the <strong>German</strong> Federal Film Fund (DFFF) <strong>and</strong> Medienboard<br />
Berlin-Br<strong>and</strong>enburg. The broadcasters NDR, BR, WDR <strong>and</strong> Degeto<br />
were also involved in the project.<br />
On 22 January 2009, the Academy of Motion Picture Arts <strong>and</strong><br />
Sciences will nominate five films from the international entries to participate<br />
in the final selection to compete <strong>for</strong> the Academy Award ® <strong>for</strong><br />
Best Foreign Language Film. <strong>Films</strong> from some 100 countries are being<br />
submitted <strong>for</strong> this year’s coveted trophy. The official awards ceremony<br />
will be held in Los Angeles on 22 February 2009.<br />
german films quarterly news<br />
4 · <strong>2008</strong> 12
From the exhibit “Movies on the Mind. Psychology <strong>and</strong> Film”<br />
(photo © Deutsche Kinemathek/Marian Stefanowsky)<br />
From the exhibit “Movies on the Mind. Psychology <strong>and</strong> Film”<br />
(photo © Deutsche Kinemathek/Marian Stefanowsky)<br />
MUSEUM FOR FILM AND TELEVISION<br />
“ON TOUR”<br />
Numerous exhibitions conceived by the Berlin Museum <strong>for</strong><br />
Film <strong>and</strong> Television are on tour this year. In December alone,<br />
three exhibitions will be taken over by international museums.<br />
“Moving Spaces. Production Design + Film” will be shown at the<br />
Australian Centre <strong>for</strong> the Moving Image in Melbourne starting 4<br />
December <strong>2008</strong>. The project is dedicated to the work of production<br />
designers, set designers <strong>and</strong> film architects through the use of film<br />
examples, designs <strong>and</strong> models. From 11 December <strong>2008</strong>, the Centre<br />
<strong>for</strong> Contemporary Art in Warsaw will show “film.kunst: Ulrike<br />
Ottinger.” This extensive show presents the large-scale photographs,<br />
costumes <strong>and</strong> workbooks of the self-willed filmmaker. “Movies on the<br />
Mind. Psychology <strong>and</strong> Film” will open at the Hong Kong Film Archive<br />
in mid-December <strong>2008</strong>. In multimedia experience spaces, visitors can<br />
place themselves “on the couch” <strong>and</strong> explore their emotions in a “crying<br />
room.”<br />
HANDS ON HD IN HANOVER<br />
With some 400 participants from the fields of film <strong>and</strong> television, over<br />
40 <strong>German</strong> <strong>and</strong> European experts <strong>and</strong> exclusive technical equipment,<br />
this year’s H<strong>and</strong>s on HD, organized by nordmedia <strong>and</strong> B<strong>and</strong> Pro<br />
Munich, was once again a unique industry event. For seven days, practical<br />
exercises <strong>and</strong> lectures on cinematography <strong>and</strong> post-production<br />
were on the program <strong>for</strong> workshop participants.<br />
Directors <strong>and</strong> producers were offered extensive insight on High<br />
Definition during a two-day seminar. Through the support of around<br />
50 sponsors <strong>and</strong> cooperation partners, more than 50 HD cameras<br />
<strong>and</strong> 25 high-tech editing boards were made available, giving the participants<br />
a rare opportunity to get to know almost all camera systems<br />
currently on the market. The goal of the event is to provide intensive<br />
technical <strong>and</strong> workflow training <strong>and</strong> to keep the entire film <strong>and</strong> television<br />
production industry up-to-date on changing trans<strong>for</strong>mation<br />
processes.<br />
BONJOUR PARIS<br />
During her tours in the 19th century, Clara Schumann also traveled to<br />
Paris. Now she is returning to the <strong>French</strong> capital as the leading role in<br />
Helma S<strong>and</strong>ers-Brahms’ new film Clara. The <strong>German</strong>-<strong>French</strong> co-production,<br />
with Martina Gedeck in the leading role, opens the film program<br />
of Saison France-North Rhine-Westphalia <strong>2008</strong>/2009 on<br />
October 5th in the Parisian Cinema Arlequin. For an entire year, the<br />
<strong>German</strong> State of North Rhine-Westphalia (NRW) will present itself<br />
also from its cultural “best side” in France.<br />
The selection of films, which shows the diversity of the productions<br />
from NRW, was made by the <strong>Films</strong>tiftung NRW, Goethe-Institut<br />
Paris, <strong>German</strong> <strong>Films</strong> <strong>and</strong> the Duisburger Filmwoche. Other highlights<br />
will include the NRW-supported films being shown at the 13th<br />
Festival of <strong>German</strong> <strong>Films</strong> in Paris (15 - 21 October), a short film program<br />
at the Goethe-Institut Paris, a screening of the globalizationdocumentary<br />
Losers <strong>and</strong> Winners, <strong>and</strong> the European premiere of<br />
Oskar Roehler’s latest film Lulu & Jimi, which was shot in 2007 in<br />
NRW. Further in<strong>for</strong>mation on the cultural <strong>and</strong> arts program Saison<br />
France-North Rhine-Westphalia <strong>2008</strong>/2009 can be found at<br />
www.artention.info.<br />
german films quarterly news<br />
4 · <strong>2008</strong> 13<br />
H<strong>and</strong>s on HD in Hanover (photo courtesy of nordmedia)
The Bavarian delegation in Montreal (photo courtesy of FFF Bayern)<br />
SUPPORT FOR THE GERMAN FILM<br />
COLLECTION AT HARVARD<br />
In 1999, FilmFernsehFonds Bayern established a center <strong>for</strong><br />
<strong>German</strong> film at Harvard University – the <strong>German</strong> Film Collection. In<br />
the meantime, over two hundred 35 mm prints of <strong>German</strong> films are<br />
archived at the university in Cambridge, MA, where symposia <strong>and</strong><br />
workshops are also offered. Now FFF Bayern, with the support of<br />
numerous producers, is currently adding new <strong>German</strong> films to the<br />
stock. “There is no other place in North America that is better equipped<br />
than Harvard University <strong>for</strong> the research <strong>and</strong> viewing of <strong>German</strong><br />
films,” says Prof. Eric Rentschler. His colleague, Haden Guest, director<br />
of the Film Archive adds: “Thanks to the mediation from FFF Bayern,<br />
we have also received English-subtitled prints from American distributors<br />
including, <strong>for</strong> example, the Oscar ® -winning The Lives of Others.<br />
Some of the latest additions to the film library include: Grenzverkehr by<br />
Stefan Betz, Die Scheinheiligen by Thomas Kronthaler, Oktoberfest by<br />
Johannes Brunner, Winterreise <strong>and</strong> Hierankl by Hans Steinbichler, the<br />
literary adaptation Durch diese Nacht sehe ich keinen einzigen Stern by<br />
Dagmar Knoepfel, <strong>and</strong> the political drama Schlaefer by Benjamin<br />
Heisenberg.<br />
To secure future events in the coming year, further prints, press materials<br />
<strong>and</strong> film literature will be sent at the end of <strong>2008</strong>. Other producers<br />
have confirmed their films. “We will continue our support <strong>for</strong> the<br />
<strong>German</strong> Film Collection in Harvard, <strong>for</strong> there is no better place outside<br />
of <strong>German</strong>y to get to know <strong>and</strong> study <strong>German</strong> films than at<br />
Harvard,” says FFF Bayern’s CEO Dr. Klaus Schaefer.<br />
In addition to Harvard, the FFF Bayern was also active at two other<br />
North American “locations”: the <strong>German</strong> Currents in Los Angeles<br />
<strong>and</strong> the presentation of 10 Bavarian productions recently at the<br />
World Film Festival in Montreal were great successes.<br />
GERMAN SHORTS SUCCESSFUL<br />
AT SUMMER FESTIVALS<br />
<strong>German</strong> shorts celebrated one success after another during the summer<br />
months. And the USA proved to be particularly interested in<br />
<strong>German</strong> short films. Tomer Eshed’s Our Wonderful Nature won the<br />
Best Well Told Fable Prize at the SIGGRAPH Festival in Los Angeles,<br />
one of the most internationally renowned competitions in the area of<br />
computer animation. At the end of August at the LA Shorts Festival –<br />
with over 600 films, one of the largest worldwide – Peter Ladkani’s<br />
film Guenstige Prognose won the award <strong>for</strong> Best Foreign Language Film<br />
<strong>and</strong> thereby qualifies <strong>for</strong> submission <strong>for</strong> the Short Film Oscar ® . In July,<br />
Gil Alkabetz won the Best Short <strong>for</strong> Children award at Animamundi in<br />
Brasil <strong>for</strong> his film Ein sonniger Tag.<br />
At the Monterrey International Film Festival in Mexico, Florian Grolig’s<br />
film Weiss took home the Best Animated Short Film prize. And Reto<br />
Caffi’s highly-acclaimed short Auf der Strecke continued its winning<br />
streak after the Student-Oscar ® : at the International Tabor Short film<br />
Festival in Croatia, the moving drama was distinguished as Best Short<br />
german films quarterly news<br />
4 · <strong>2008</strong> 14<br />
Scene from “Weiss” (photo © Florian Grolig)
Scene from “Long Shadows” (photo © Olaf Aue)<br />
Lothar Herzog, Dennis Gansel, Jennifer Ulrich, Martin Gypkens in Buenos Aires<br />
Feature. The film also received the Patrick Peyton Excellence in<br />
Filmmaking Award at the Angelus Student Festival in Hollywood.<br />
MFG BADEN-WUERTTEMBERG IN<br />
ROME & PRAGUE<br />
The MFG-supported film Long Shadows by Connie Walther is being<br />
screened in the Official Selection (Cinema <strong>2008</strong> competition) of this<br />
year’s Rome film festival. The Next Film <strong>and</strong> Gambit Film production<br />
tells the story of Widmer, a <strong>for</strong>mer member of the Red Army Faction<br />
who sat in prison <strong>for</strong> some 20 years. A key witness confirmed his<br />
involvement in the murder of a bank president <strong>and</strong> bank employee.<br />
But the doubts concerning his involvement remain. Until he meets<br />
Valerie. Then he has to pay…<br />
Three other MFG-supported films were screened at the third DER<br />
FILM festival in Prague, which was organized by the local Goethe-<br />
Institute: Absurdistan by Veit Helmer, Runaway Horse by Rainer<br />
Kaufmann, <strong>and</strong> Sonbol by Niko Apel. Absurdistan tells the story of a<br />
group of women who start a sex-strike in their village when their men<br />
refuse to repair the local water supply. Runaway Horse, with Ulrich<br />
Noethen, Katja Riemann <strong>and</strong> Ulrich Tukur in the leading roles,<br />
recounts the coincidental meeting of two old school friends; a meeting<br />
which turns into a competition on life’s philosophies <strong>and</strong> women’s<br />
fancies. And Sonbol portrays the strong woman of the title name: a<br />
self-employed dentist who lives in the Islamic Republic of Iran – <strong>and</strong><br />
drives in sports rallies!<br />
RECORD ATTENDANCE AT 8TH FESTIVAL<br />
OF GERMAN FILMS IN BUENOS AIRES<br />
Some 5,500 cinemagoers packed the Village Recoleta cinemas in<br />
Buenos Aires to see <strong>German</strong> films. For the third year in a row, attendance<br />
figures climbed <strong>and</strong> the festival has become a welcomed cultural<br />
event <strong>for</strong> local audiences, press <strong>and</strong> distributors in the Argentine<br />
capital.<br />
This year’s festival opened with Dennis Gansel’s The Wave, with the<br />
director <strong>and</strong> his leading actress Jennifer Ulrich in attendance. The film<br />
was shown in three sold-out screenings. Director Martin Gypkens was<br />
also on h<strong>and</strong> to present his film Nothing But Ghosts. Other films in the<br />
festival program included: Cherry Blossoms – Hanami by Doris Doerrie,<br />
The Edge of Heaven by Fatih Akin, Trade by Marco Kreuzpaintner,<br />
Special Escort by Maggie Peren, Chiko by Oezguer Yildirim, Beautiful<br />
Bitch by Martin Theo Krieger, And Along Come Tourists by Robert<br />
Thalheim, the documentary To the Limit by Pepe Danquart, the children’s<br />
film Red Zora by Peter Kahane <strong>and</strong> the TV movie Rose by Alain<br />
Gsponer.<br />
Lothar Herzog was also in Buenos Aires to represent <strong>German</strong> <strong>Films</strong>’<br />
NEXT GENERATION <strong>2008</strong> program <strong>and</strong> presented his film Yuppy<br />
Cars to an enthusiastic audience. The silent movie Hamlet by Sven<br />
Gade <strong>and</strong> Heinz Schall closed up the event with live musical<br />
accompaniment by the Seronoser Quartett.<br />
german films quarterly news<br />
4 · <strong>2008</strong> 15
Dancing with “Sunshine Barry <strong>and</strong> the Disco Worms” in Toronto<br />
CINE-REGIO IN LEIPZIG<br />
The Mitteldeutsche Medienfoerderung (MDM) will host this<br />
year’s Cine-Regio Annual <strong>Meeting</strong>, which takes place during the 51st<br />
International Leipzig Festival <strong>for</strong> Documentary <strong>and</strong> Animated Film (27<br />
October – 2 November). Cine-Regio is a network of regional film<br />
funds in Europe <strong>and</strong> was established in 2005 as an independent nonprofit<br />
association. The network today represents 33 funds from 15<br />
countries. Cine-Regio’s main objectives are to exchange in<strong>for</strong>mation<br />
<strong>for</strong> the benefit of the European film industry, to promote regional<br />
audiovisual interests towards European institutions <strong>and</strong> to strengthen<br />
co-production activities, including creative exchange <strong>and</strong> know-how<br />
throughout Europe. The Annual <strong>Meeting</strong>’s agenda, amongst others,<br />
features discussions on members’ activities in the field of children’s<br />
<strong>and</strong> documentary film, <strong>and</strong> speakers from the European Commission<br />
<strong>and</strong> European Audiovisual Observatory.<br />
RENDEZ-VOUS IN HAMBURG<br />
The Hanseatic City of Hamburg will be hosting the sixth Rendez-Vous<br />
Franco-Allem<strong>and</strong> du Cinéma. Some 400 representatives from France<br />
<strong>and</strong> <strong>German</strong>y will meet from 20 – 22 November to discuss current<br />
film industry issues on various panels. Topics include co-productions,<br />
means of funding, <strong>and</strong> digital cinema projection. The Senate of Hamburg<br />
is holding a reception <strong>and</strong> dinner in the Town Hall, after which<br />
alumni of the <strong>German</strong>-<strong>French</strong> Masterclass of the Ludwigsburg Film<br />
Academy will throw a party <strong>for</strong> all the Rendez-Vous guests. “The<br />
three-day event will deepen the contacts established between our<br />
two countries throughout the past years. As hosts, we will do our best<br />
to enthuse our <strong>French</strong> guests <strong>and</strong> the entire <strong>German</strong> film industry <strong>for</strong><br />
Hamburg as an ambitious, cosmopolitan film city,” says Eva Hubert,<br />
who, as executive director of Filmfoerderung Hamburg<br />
Schleswig-Holstein, is helping to finance <strong>and</strong> organize the meet-<br />
ing in cooperation with Unifrance <strong>and</strong> <strong>German</strong> <strong>Films</strong>, the Centre<br />
National Cinématographie (CNC), the <strong>German</strong> Federal Film Board<br />
(FFA), other regional film funding institutions, the Chamber of<br />
Commerce Hamburg <strong>and</strong> the Free & Hanseatic City of Hamburg.<br />
PREMIERES IN TORONTO<br />
With a total of 36 productions in the festival's various sections, the<br />
<strong>German</strong> film industry had a very high profile at the 33rd Toronto<br />
International Film Festival (4-13 September <strong>2008</strong>).<br />
Four films celebrated their eagerly awaited world premieres at the<br />
festival <strong>and</strong> were received very favorably by audiences <strong>and</strong> critics<br />
alike: A Year Ago In Winter by Caroline Link as a Gala Presentation, A<br />
Woman in Berlin by Max Faerberboeck as a Special Presentation, as<br />
well as Krabat by Marco Kreuzpaintner <strong>and</strong> Sunshine Barry <strong>and</strong> the<br />
Disco Worms by Thomas Borch Nielsen (DK/DE) in the Sprockets<br />
Family Zone section. Other films presented at Toronto included<br />
Tonight by Werner Schroeter (FR/DE/PT) in Masters, Jerichow by<br />
Christian Petzold, Cloud 9 by Andreas Dresen, My Mother, My Bride,<br />
<strong>and</strong> I by Hans Steinbichler in Contemporary World Cinema, <strong>and</strong> the<br />
documentaries The Heart of Jenin by Leon Geller <strong>and</strong> Marcus Vetter,<br />
Peace Mission by Dorothee Wenner <strong>and</strong> Upstream Battle by Ben<br />
Kempas in Real to Reel. Most of the directors attended the festival to<br />
personally introduce their films to enthusiastic audiences.<br />
<strong>German</strong> <strong>Films</strong> provided in<strong>for</strong>mation about the <strong>German</strong> film industry<br />
at a st<strong>and</strong> at the Sales & Industry area in the Sutton Place Hotel.<br />
Together with the Goethe-Institut <strong>and</strong> the <strong>German</strong> Consulate<br />
Toronto, <strong>German</strong> <strong>Films</strong> hosted a reception where the <strong>German</strong> <strong>and</strong><br />
international festival guests could exchange ideas <strong>for</strong> new upcoming<br />
projects <strong>and</strong> potential co-productions.<br />
german films quarterly news<br />
4 · <strong>2008</strong> 16
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IN PRODUCTION<br />
24 Stunden<br />
Schlesisches Tor<br />
Scene from “24 Stunden Schlesisches Tor”<br />
(photo © dffb)<br />
Type of Project Documentary Cinema Genre Society, Culture<br />
Production Company Deutsche Film- & Fernsehakademie Berlin<br />
(dffb) Producer Hartmut Bitomsky Directors Eva Lia Reinegger,<br />
Anna de Paoli Screenplay Eva Lia Reinegger Directors of<br />
Photography Luciano Cervio, Jenny Lou Ziegel Editor Karin<br />
Nowarra Format Digi Beta/Mini-DV, color, 1:1.78, Dolby SR<br />
Shooting Languages <strong>German</strong>, English Shooting in Berlin, July<br />
2007 <strong>German</strong> Distributor Deutsche Film- und Fernsehakademie<br />
Berlin (dffb)<br />
World Sales (please contact)<br />
Deutsche Film- & Fernsehakademie Berlin (dffb)<br />
Maximilian Muellner<br />
Potsdamer Strasse 2 · 10785 Berlin/<strong>German</strong>y<br />
phone +49-30-25 75 91 15 · fax +49-30-25 75 91 63<br />
email: muellner@dffb.de · www.dffb.de<br />
Schlesisches Tor in the Berlin district of Kreuzberg is one of the most<br />
lively places in the city. The area is full of shops, snack bars, restaurants<br />
<strong>and</strong> clubs. It is also home to the above-ground subway station of<br />
the same name, which is the last stop line U1 makes in Kreuzberg<br />
be<strong>for</strong>e it crosses the Oberbaumbruecke into the eastern part of the<br />
city. Just behind the bridge used to be the Wall.<br />
Directors Eva Lia Reinegger <strong>and</strong> Anna de Paoli, both students<br />
at the dffb, acknowledge Louis Malle’s 1972 Place de la République as<br />
their template, but instead of ten days talking to <strong>and</strong> observing the<br />
people of Paris, they’re doing 24 hours Schlesisches Tor!<br />
“We’re taking the rhythm of the place,” Reinegger explains, “Its<br />
breath, the subway, the cars, pedestrians. We’re participating in its<br />
daily routine, acknowledging its atmosphere, how its tempo changes<br />
from morning hectic to afternoon sleepiness. Then comes the evening<br />
rush hour <strong>and</strong> then the night, which belongs to partygoers, clubbers<br />
<strong>and</strong>, finally, people making their way home.”<br />
“We spoke to passers-by, <strong>and</strong> asked them about themselves,” de Paoli<br />
explains. “They paused <strong>for</strong> thought <strong>for</strong> a moment, <strong>and</strong> then told us<br />
about their lives, their work, their children, the people <strong>and</strong> things they<br />
love. It was astonishing <strong>and</strong> touching to experience such a variety of<br />
personalities. These interviews became the film’s backbone. We are<br />
trying, in this way, to create a document of time that explains something<br />
about life in the year 2007.”<br />
To turn the location itself, Schlesisches Tor, <strong>and</strong> the people into the<br />
main protagonists, Reinegger <strong>and</strong> de Paoli used Mini DV video, the <strong>for</strong>mat’s<br />
flexibility <strong>and</strong> the small size of the camera allowing them to react<br />
spontaneously, interviewing passers-by as they go.<br />
24 Stunden Schlesisches Tor is a slice of Berlin life, a snapshot<br />
of the many people who make this city the exciting <strong>and</strong> dynamic<br />
metropolis it is.<br />
Berlin<br />
Type of Project Documentary Cinema Genre Art, Biopic,<br />
Theater, Music, City Portrait Production Company cine<br />
plus/Berlin, in co-production with RBB/Postdam-Babelsberg, ARTE/<br />
Strasbourg With backing from Medienboard Berlin-Br<strong>and</strong>enburg,<br />
<strong>German</strong> Federal Film Fund (DFFF) Producers Joerg Schulze,<br />
Arndt Potdevin Directors Michael Ballhaus, Ciro Cappellari<br />
Screenplay Michael Ballhaus, Ciro Cappellari Directors of<br />
Photography Michael Ballhaus, Ciro Cappellari Editor Karl Riedl<br />
Music by Fetisch With Frank-Walter Steinmeier, Maybrit Illner,<br />
Alex<strong>and</strong>er Hacke, Danielle de Picciotto, Dieter Kosslick, Angela<br />
Winkler, Nele Winkler, Dimitri Hegemann, Christoph Schlingensief,<br />
Jeff Mills <strong>and</strong> others Format HD (HDCAM, HDCAM-SR, XDCAM<br />
EX), blow-up to 35 mm, color, 1:1.66, Dolby Digital Shooting<br />
Language <strong>German</strong> Shooting in Berlin, June – July <strong>2008</strong><br />
<strong>German</strong> Distributor Farbfilm Verleih/Berlin<br />
World Sales<br />
Bavaria Film International<br />
Dept. of Bavaria Media GmbH · Thorsten Ritter<br />
Bavariafilmplatz 7 · 82031 Geiselgasteig/<strong>German</strong>y<br />
phone +49-89-64 99 26 86 · fax +49-89-64 99 37 20<br />
email: international@bavaria-film.de<br />
www.bavaria-film-international.com<br />
Fate evidently wanted Michael Ballhaus <strong>and</strong> Ciro Cappellari<br />
to work on a film together.<br />
german films quarterly in production<br />
4 · <strong>2008</strong> 18<br />
SK<br />
Ciro Cappellari, Michael Ballhaus<br />
(photo courtesy of Just Publicity)
Three years ago, Joerg Schulze <strong>and</strong> Arndt Potdevin of the<br />
production department of Berlin’s cine plus had approached the<br />
internationally celebrated cinematographer, who was working on<br />
Martin Scorsese’s The Departed at the time, to make a portrait on the<br />
occasion of his 70th birthday. They had suggested that fellow<br />
cinematographer <strong>and</strong> director Ciro Cappellari, with whom cine plus<br />
has made several documentaries, including his Adolf Grimme Awardwinning<br />
A Struggle <strong>for</strong> Love on the musician Abdullah Ibrahim, could be<br />
the director.<br />
Although this project was not realized, Ballhaus proposed Cappellari<br />
as a co-director when broadcaster RBB came to him last year with the<br />
idea of a film about Berlin, tracing the changes <strong>and</strong> dynamism of the<br />
<strong>German</strong> capital 20 years after the fall of the Wall as it finds its way to<br />
a new normality.<br />
The new Berlin is shown through the portraits of some 20 people<br />
through their projects <strong>and</strong> activities, ranging from the city’s mayor<br />
Klaus Wowereit <strong>and</strong> Federal Foreign Minister Frank-Walter<br />
Steinmeier to Nele Winkler, the h<strong>and</strong>icapped daughter of<br />
actress Angela Winkler, to Clara Leskovar <strong>and</strong> Doreen<br />
Schulz of the young fashion label C.Neeon <strong>and</strong> the Turkish kiosk<br />
owner Ercan Ergin.<br />
Producer Joerg Schulze explains that directing a documentary was<br />
“a totally new experience <strong>for</strong> Michael, involving a lot of preliminary<br />
research. But he had a lot of fun coming back to his native city <strong>and</strong><br />
broadening his view of Berlin.”<br />
“It wasn’t just a case of Michael doing the directing <strong>and</strong> Ciro being the<br />
operator behind the camera,” he continues. “They both wanted the<br />
film to be a joint ef<strong>for</strong>t <strong>and</strong> since Ciro has been living in Berlin <strong>for</strong><br />
more than 20 years, he could introduce Michael to people he might<br />
otherwise not have known. There was an open discourse between<br />
the two about whom to interview.”<br />
“Some of the portraits would deserve a whole film in themselves,”<br />
adds producer colleague Arndt Potdevin. “Whether it is celebrities<br />
like Christoph Schlingensief, the musician Alex<strong>and</strong>er<br />
Hacke <strong>and</strong> the Foreign Minister Steinmeier or less well-known<br />
people such as Nele Winkler.”<br />
“For both of them, an important criterion was that they didn’t just<br />
gather official statements from their interviewees,” Potdevin says.<br />
“Each person had to have a project affecting the city where we could<br />
observe what they are doing <strong>and</strong> to see some progress in the project<br />
during the film. It was also important that they could develop an intimate<br />
relationship with each person, <strong>and</strong> not have just talking heads,<br />
because it is much more interesting to know what goes on ’behind the<br />
scenes’ <strong>and</strong> see how these people really operate.”<br />
The two were able to get up close <strong>and</strong> personal with their interviewees<br />
thanks to their decision to use the small Sony PMW/EX1,<br />
while the Sony CineAlta F23 camera was deployed <strong>for</strong> the premium<br />
shots.<br />
“We wanted consciously to avoid those camera movements <strong>for</strong><br />
which Michael is so well-known such as crane shots <strong>and</strong> lots of<br />
dollies,” Potdevin notes. “There is more of a split between a lot of<br />
h<strong>and</strong>-held <strong>and</strong> off the shoulder camerawork to always be close to the<br />
people being interviewed <strong>and</strong> then the wide angle shots with the helicopter<br />
or from the top of buildings around Berlin.”<br />
As the two producers explain, the digital workflow – combining the<br />
XDCAM-EX <strong>for</strong>mat footage with the F23’s HDCAM-SR material – is<br />
being h<strong>and</strong>led completely at cine plus’ post-production facilities in<br />
Berlin <strong>for</strong> theatrical release in <strong>German</strong>y by Farbfilm Verleih in 2009.<br />
Die Fremde<br />
Type of Project Feature Film Cinema Genre Drama Production<br />
Company Independent Artists Filmproduktion/Berlin, in<br />
co-production with WDR/Mainz, ARTE/Strasbourg, RBB/Potsdam-<br />
Babelsberg With backing from Filmfoerderungsanstalt (FFA),<br />
Medienboard Berlin-Br<strong>and</strong>enburg, BKM, <strong>Films</strong>tiftung NRW,<br />
Kuratorium junger deutscher Film, <strong>German</strong> Federal Film Board<br />
(DFFF) Producers Feo Aladag, Zueli Aladag Director Feo Aladag<br />
Screenplay Feo Aladag Director of Photography Judith<br />
Kaufmann Editor Andrea Mertens Music by Max Richter Production<br />
Design Silke Buhr Principal Cast Sibel Kekilli, Nizam<br />
Schiller, Settar Tanrioegen, Derya Alabora, Tamer Yigit, Florian Lukas,<br />
Serhad Can, Almila Bagriacik, Nursel Koese, Alwara Hoefels, Ufuk<br />
Bayraktar, Orhan Guener Casting Ulrike Mueller, Harika Uygur, Luci<br />
Lenox Format 35 mm, color, cs, Dolby SR Shooting<br />
Languages <strong>German</strong>, Turkish Shooting in Berlin, Istanbul, July-<br />
September <strong>2008</strong> <strong>German</strong> Distributor Delphi Filmverleih/Berlin<br />
World Sales<br />
TELEPOOL GmbH · Anja Uecker<br />
Sonnenstrasse 21 · 80331 Munich/<strong>German</strong>y<br />
phone +49-89-55 87 60 · fax +49-89-55 87 62 29<br />
email: cinepool@telepool.de · www.telepool.de<br />
Twenty-five year old Umay flees with her young son, Cem (5), from<br />
her husb<strong>and</strong> in Istanbul back to her home city of Berlin. She wants<br />
Cem to grow up in a loving environment <strong>and</strong> hopes <strong>for</strong> her family’s<br />
support. But trapped in convention <strong>and</strong> convinced that Umay is<br />
bringing shame upon them, her parents <strong>and</strong> brothers withhold their<br />
support. Torn between their affection <strong>for</strong> their own daughter <strong>and</strong><br />
sister <strong>and</strong> a system of archaic rules, they struggle with a seemingly<br />
unresolvable situation until Umay leaves her family. With hope in her<br />
heart <strong>and</strong> a good deal of strength <strong>and</strong> endurance, Umay builds a new<br />
life <strong>for</strong> Cem <strong>and</strong> herself. Unable to cut those strongest of bonds,<br />
family ties, she makes repeated attempts to reconcile. But Umay’s<br />
struggle <strong>for</strong> self-determination unleashes a deadly chain of events.<br />
german films quarterly in production<br />
4 · <strong>2008</strong> 19<br />
MB<br />
Scene from “Die Fremde” (photo courtesy of<br />
Independent Artists Filmproduktion)
Die Fremde (“The Stranger”) is the powerful debut film of writerdirector<br />
Feo Aladag who, together with Zueli Aladag, is the cofounder<br />
of Berlin-based Independent Artists Filmproduktion,<br />
whose first feature film this also happens to be.<br />
“First <strong>and</strong> <strong>for</strong>emost,” Feo Aladag says, “we want to realize our own<br />
film material, material which is artistically of a high st<strong>and</strong>ard as well as<br />
commercial. We are convinced that films which have relevant content,<br />
made in a universal way will – if they have high cinematic st<strong>and</strong>ards<br />
<strong>and</strong> are entertaining – find their audience.”<br />
In which case, Die Fremde is certainly off to a flying start with the<br />
casting of Sibel Kekilli as the main protagonist, Umay. Kekilli is the<br />
winner of the <strong>German</strong> Film Award in Gold <strong>and</strong> the New Faces<br />
Award, both 2004, <strong>for</strong> her searing per<strong>for</strong>mance in Fatih Akin’s Head-<br />
On. This is a woman who brings burning intensity to the screen.<br />
Kekilli is supported by a great cast which includes Turkish stars<br />
Derya Alabora <strong>and</strong> Settar Tanrioegen, as well as Florian<br />
Lukas (Good Bye, Lenin!), Nursel Koese (The Edge of Heaven)<br />
<strong>and</strong> Tamer Yigit (Freunde). Making their screen debuts are<br />
Nizam Schiller (5), Serhad Can (16) <strong>and</strong> Almila Bagriacik<br />
(18).<br />
Other names to note in Die Fremde’s credits are that of director<br />
of photography Judith Kaufmann, nominated <strong>for</strong> the <strong>German</strong><br />
Film Award 2007 <strong>for</strong> her work on Four Minutes, <strong>and</strong> production designer<br />
Silke Buhr, who worked on the Oscar ® <strong>and</strong> <strong>German</strong> Film<br />
Award-winning The Lives of Others.<br />
The circumstances <strong>and</strong> events depicted in Die Fremde, sadly, are<br />
only too real in many parts of the world, including here in Europe,<br />
where certain sections of immigrant communities embody culturally<br />
archaic notions of male-female relationships.<br />
As Die Fremde shows, the truth is that there is nothing at all<br />
honorable about a so-called ’honor killing’’ but “our aim from the<br />
beginning,” Zueli Aladag says, “is to depict all the characters in this<br />
drama as human, with their contradictions, inner struggles <strong>and</strong> distress.<br />
This is not a polemic about so-called honor killings, otherwise<br />
we’d have written a newspaper article. The first rushes show this will<br />
be a special film.”<br />
SK<br />
Der grosse Kater<br />
Type of Project Feature Film Cinema Genre Drama, Love Story,<br />
Thriller Production Company Neue Bioskop Film/Munich, in<br />
co-production with Abrakadabra <strong>Films</strong>/Zurich, Barry <strong>Films</strong>/Berlin<br />
With backing from Hessen Invest, FilmFernsehFonds Bayern,<br />
Eurimages, Zuercher <strong>Films</strong>tiftung, Bundesamt fuer Kultur, <strong>German</strong><br />
Federal Film Fund (DFFF) Producers Dietmar Guentsche,<br />
Wolfgang Behr, Wolfgang Mueller Co-Producers Claudia Wick,<br />
Benito Mueller Director Wolfgang Panzer Screenplay Claus<br />
Hant, Dietmar Guentsche Director of Photography Edwin<br />
Horak Editor Jean-Claude Piroué Production Design Josef<br />
Sanktjohanser Principal Cast Bruno Ganz, Ulrich Tukur, Marie<br />
Baeumer, Christiane Paul, Edgar Selge, Justus von Dohnányi, Antoine<br />
Monot Jr. Format 35 mm, color, 1:1.85, Dolby Digital Shooting<br />
Language <strong>German</strong> Shooting in Berne, Munich, Bad Toelz,<br />
August – October <strong>2008</strong> <strong>German</strong> Distributor Senator Film<br />
Verleih/Berlin<br />
World Sales<br />
TELEPOOL GmbH · Irina Ignatiew<br />
Sonnenstrasse 21 · 80331 Munich/<strong>German</strong>y<br />
phone +49-89-55 87 60 · fax +49-89-55 87 61 88<br />
email: telepool@telepool.de · www.telepool.de<br />
Principal photography took place between August <strong>and</strong> October on<br />
Wolfgang Panzer’s Der grosse Kater by Munich-based<br />
Neue Bioskop Film under the new management of Dietmar<br />
Guentsche since he <strong>and</strong> new producing partner Wolfgang Behr<br />
took the company over from Eberhard Junkersdorf at the beginning<br />
of last year.<br />
At the 2007 Berlinale, the Swiss production house Abrakadabra<br />
<strong>Films</strong> <strong>and</strong> its <strong>German</strong> partner Barry <strong>Films</strong> approached Neue<br />
Bioskop looking <strong>for</strong> a partner with production experience to board<br />
the adaptation of Thomas Huerlimann’s 1998 bestselling novel of the<br />
same name.<br />
“Bruno Ganz was already attached <strong>and</strong> we began the financing on<br />
the <strong>German</strong> side,” Guentsche recalls, pointing out that the shoot had<br />
to be put back until this summer since the screenplay needed to be<br />
rewritten. “We received the highest sums possible granted by the<br />
Zuercher <strong>Films</strong>tiftung <strong>and</strong> the Federal Office <strong>for</strong> Culture (BAK) in<br />
Berne along with backing from <strong>German</strong>y – FFF Bayern, Hessen Invest<br />
<strong>and</strong> the new ’<strong>German</strong> spend’ incentive scheme DFFF – as well as<br />
Eurimages.”<br />
german films quarterly in production<br />
4 · <strong>2008</strong> 20<br />
Scene from “Der grosse Kater”<br />
(photo courtesy of Neue Bioskop Film)
In Der grosse Kater, Huerlimann juxtaposes the political work of<br />
a Federal President – his politician father Hans held this position <strong>for</strong> a<br />
year in 1979 – with the private tragedy of a dying son (Huerlimann’s<br />
brother in real life).<br />
“It is a Swiss story but, at the same time, a local story <strong>for</strong> global<br />
markets,” Guentsche explains. “We see the politician Kater [Ganz] at<br />
the zenith of his career whose rival [played by Ulrich Tukur] is<br />
planning his downfall out of revenge. He begins intriguing that the<br />
Federal President has arranged a visit to his terminally ill son in the<br />
hospital as part of the official program during the state visit by the<br />
Spanish royal couple. Kater l<strong>and</strong>s up rock bottom, but through a trick<br />
manages to turn the story around to his favor the next day <strong>and</strong> win<br />
back his wife’s love.”<br />
“The plot is very emotional, has great drama, <strong>and</strong> is a political thriller<br />
<strong>and</strong> a love story,” Guentsche says, arguing that “the film has lots of<br />
potential to appeal to different audiences.”<br />
He adds that the novel by Thomas Huerlimann, who is one the best<br />
known living Swiss authors on a par with Max Frisch or Friedrich<br />
Duerrenmatt, has “a half documentary <strong>and</strong> half fictional <strong>for</strong>m. The<br />
book blurs the distinctions. While the novel was set in 1979, we have<br />
transposed the action [<strong>for</strong> the film] to the present <strong>and</strong> put more<br />
emphasis on the fictional elements.”<br />
Meanwhile, the choice of director will ensure that the “behind the<br />
scenes” in this depiction of the world of high politics <strong>and</strong> diplomacy<br />
will have a particularly authentic feel since Munich-born director<br />
Wolfgang Panzer worked <strong>for</strong> many years <strong>for</strong> Swiss television reporting<br />
<strong>and</strong> directing programs from the Swiss parliament assembly<br />
<strong>for</strong> the nightly news flagship Tagesschau. “He has an intimate knowledge<br />
of the life of politicians <strong>and</strong> their habits,” Guentsche explains.<br />
Moreover, the project, which has attracted such top-notch actors as<br />
Marie Baeumer, Christiane Paul, Edgar Selge, <strong>and</strong> Justus<br />
von Dohnányi, alongside Ganz <strong>and</strong> Tukur, also enjoyed great support<br />
from the Swiss political establishment at the highest level when<br />
applying <strong>for</strong> shooting permits <strong>for</strong> original locations in Berne, including<br />
a last-minute intervention from the Ministry of Defense to ensure that<br />
the Swiss Army could provide a guard of honor <strong>for</strong> a scene depicting<br />
the state visit of the Spanish royals.<br />
MB<br />
Haus und Kind<br />
Type of Project TV Movie Genre Drama, Comedy Production<br />
Company Kineo Filmproduktion/Potsdam <strong>for</strong> BR/<br />
Munich, in co-production with ARTE/Strasbourg, Typhoon<br />
<strong>Films</strong>/Munich Producers Peter Hartwig, Cooky Ziesche<br />
Commissioning Editors Cornelia Ackers (BR), Andreas<br />
Schreitmueller (ARTE) Director Andreas Kleinert Screenplay<br />
Wolfgang Kohlhaase Director of Photography Johann Feindt<br />
Editor Gisela Zick Production Design Gabriele Wolff<br />
Principal Cast Marie Baeumer, Stefan Kurt, Stephanie Schoenfeld,<br />
Lilly Marie Tschoertner, Karin Neuhaeuser Casting Nina Haun<br />
Format Super 16 mm, color, 1:1.77, Stereo Shooting Language<br />
<strong>German</strong> Shooting in Seegrehna, Lutherstadt Wittenberg, Berlin,<br />
Ahrenshoop, June – August <strong>2008</strong><br />
Contact<br />
Bayerischer Rundfunk · Maike Beba<br />
Floriansmuehlstrasse 60 · 80939 Munich/<strong>German</strong>y<br />
phone +49-89-38 06 51 62 · fax +49-89-38 06 76 44<br />
email: Maike.Beba@brnet.de · www.brnet.de<br />
Producers Peter Hartwig <strong>and</strong> Cooky Ziesche embarked this<br />
summer on their third collaboration with veteran screenwriter<br />
Wolfgang Kohlhaase <strong>for</strong> Andreas Kleinert’s Haus und<br />
Kind (“House <strong>and</strong> Child”) after previously working together on<br />
Andreas Dresen’s Summer in Berlin <strong>and</strong> Whisky mit Wodka.<br />
It was particularly after their experiences on Summer in Berlin in 2004<br />
that Hartwig <strong>and</strong> Ziesche decided to work with Kohlhaase on more<br />
projects in the future. Ziesche developed the story idea <strong>for</strong> Haus<br />
und Kind together with Kohlhaase be<strong>for</strong>e she <strong>and</strong> Hartwig started<br />
looking <strong>for</strong> the right director <strong>for</strong> the project.<br />
Their choice fell on Andreas Kleinert who was last seen in the cinemas<br />
with his surreal grotesque drama Head Under Water which premiered<br />
at the 2007 Venice Film Festival.<br />
“Cooky had made two epiosodes of the series Polizeiruf with<br />
Andreas Kleinert <strong>for</strong> RBB <strong>and</strong> he was our first choice as director <strong>for</strong><br />
the film,” recalls Hartwig who has served as production manager or<br />
line producer on some 35 TV movies <strong>and</strong> feature films since 1995,<br />
including many of Andreas Dresen’s films as well as films by Dani Levy<br />
(My Fuehrer) <strong>and</strong> Oskar Roehler (Angst). “Andreas Kleinert works<br />
very well with the actors <strong>and</strong> they appreciate his directness <strong>and</strong><br />
attentiveness. He is a very passionate director with great attention to<br />
detail. There are many nuances in a Kohlhaase script which one could<br />
german films quarterly in production<br />
4 · <strong>2008</strong> 21<br />
Scene from “Haus und Kind”<br />
(photo © Kineo Film/Conny Klein)
easily read over, but Andreas is very precise.”<br />
The project by Hartwig’s Babelsberg-based production company<br />
Kineo Film then found its champions in Cornelia Ackers, a<br />
commissioning editor at BR who had already worked with Kleinert in<br />
the past, <strong>and</strong> in Andreas Schreitmueller at ARTE in Strasbourg.<br />
The plot of Haus und Kind centers on a professor of Modern<br />
<strong>German</strong> History (played by Stefan Kurt) who wants to move into<br />
a new house in the country with his wife (Marie Baeumer) <strong>and</strong><br />
also have a child with his girlfriend (Stephanie Schoenfeld). A<br />
summer <strong>and</strong> winter between Berlin <strong>and</strong> the Baltic coast see the man<br />
getting himself entangled in that old, old story: what does a man do<br />
with two women? Or rather: what do two women do with one man?<br />
As Kohlhaase explains, he sees Haus und Kind as “playing with the<br />
classical love triangle constellation. After all, how can monogamy<br />
prove its worth if it doesn’t have a chance to fall into temptation? The<br />
man confidently dedicates himself to his goal, but we already have a<br />
feeling that things won’t go well. We are dealing here with a serious<br />
subject but it can also be told with irony. Everything can end murderously<br />
or laconically.”<br />
Meanwhile, Kleinert expresses his admiration <strong>for</strong> Kohlhaase’s skill “of<br />
how he manages to describe, in a few clear sentences, processes that<br />
are much more complex in reality. At first glance, the story appears<br />
to be quite simple, but it has so much to say about our time <strong>and</strong> that<br />
really touched me. It is not comparable with other films by Kohlhaase.<br />
I wouldn’t describe it as a pure comedy because there are melancholic<br />
<strong>and</strong> even tragic moments.”<br />
Moreover, Hartwig <strong>and</strong> Kleinert are both full of praise <strong>for</strong> lead actor<br />
Stefan Kurt whose recent films have included Dani Levy’s My Fuehrer,<br />
Chris Kraus’ Four Minutes <strong>and</strong> Justus von Dohnányi’s Bis zum Ellenbogen.<br />
“Stefan Kurt looks a bit like one of those desperate characters from<br />
a Woody Allen film,” Hartwig explains. “He perfectly transports this<br />
desperation of not being able to make a choice between two<br />
women.”<br />
“You can do a lot with Stefan,” Kleinert adds. “Every close-up is exciting.<br />
We are shooting with him every day <strong>and</strong> he is in every scene, <strong>and</strong><br />
yet he is constantly surprising us with new reactions <strong>and</strong> nuances. It is<br />
a perfect joy!”<br />
As <strong>for</strong> the personnel behind the camera, it is clearly a case of ’never<br />
change a winning team’ <strong>for</strong> Kleinert, since he is working on Haus<br />
und Kind with many of his regular family of collaborators from the<br />
past 15 years – ranging from the DoP Johann Feindt (who is a<br />
respected documentary filmmaker in his own right) through editor<br />
Gisela Zick to costume designer Dorothee Kriener <strong>and</strong> production<br />
designer Gabriele Wolff.<br />
“That makes the atmosphere on the set more relaxed <strong>and</strong> the actors<br />
feel more at ease when they see that we have been working together<br />
<strong>for</strong> so long,” Kleinert says.<br />
MB<br />
Hilde<br />
Type of Project Feature Film Cinema Genre Biopic Production<br />
Company Egoli Tossell Film AG/Berlin, in co-production<br />
with MMC Independent/Cologne, Pictorion – DAS WERK/<br />
Duesseldorf With backing from <strong>Films</strong>tiftung NRW,<br />
Medienboard Berlin-Br<strong>and</strong>enburg, Filmfoerderungsanstalt (FFA),<br />
<strong>German</strong> Federal Film Fund (DFFF) Producer Judy Tossell<br />
Director Kai Wessel Screenplay Maria von Hel<strong>and</strong> Director<br />
of Photography Hagen Bogdanski Editor Tina Freitag Production<br />
Design Thomas Freudenthal Principal Cast Heike<br />
Makatsch, Dan Stevens, Monica Bleibtreu, Michael Gwisdek, Hanns<br />
Zischler, Anian Zollner, Trystan Puetter, Johanna Gastdorf, Sylvester<br />
Groth, Roger Cicero Casting Nina Haun, Leo Davis, Nancy Bishop<br />
Format 35 mm, color, cs, Dolby Shooting Languages <strong>German</strong><br />
& English Shooting in in Berlin, North Rhine-Westphalia,<br />
Magdeburg, South Africa, June – August <strong>2008</strong> <strong>German</strong> Distributor<br />
Warner Bros. Pictures <strong>German</strong>y/Hamburg<br />
World Sales<br />
Beta Cinema / Dept. of Beta Film GmbH<br />
Andreas Rothbauer<br />
Gruenwalder Weg 28 d · 82041 Oberhaching/<strong>German</strong>y<br />
phone +49-89-67 34 69 80 · fax +49-89-6 73 46 98 88<br />
email: ARothbauer@betacinema.com<br />
www.betacinema.com<br />
Just over two years ago, producer Judy Tossell made two feature<br />
films with Heike Makatsch – Ed Herzog’s Twisted Sister <strong>and</strong> Almost<br />
Heaven – <strong>and</strong> was then “looking <strong>for</strong> a great role <strong>and</strong> great <strong>German</strong><br />
stories” to continue the collaboration with the award-winning actress.<br />
Their attention turned to the life of legendary <strong>German</strong> diva <strong>and</strong> international<br />
star Hildegard Knef: “I was amazed that nothing had been<br />
made <strong>for</strong> the cinema about her because her life is incredible,” recalls<br />
Tossell who then optioned the rights to Knef ’s story from her estate.<br />
Initially, a screenplay was developed charting Knef ’s life between 1943<br />
<strong>and</strong> 1966 without a director attached until Egoli Tossell Film<br />
brought director Kai Wessel onboard the project in Spring 2007.<br />
As Tossell points out, Wessel’s work on the event TV movie March of<br />
Millions (Die Flucht) with Maria Fuertwaengler <strong>and</strong> Dagmar Manzel<br />
“showed that Kai can h<strong>and</strong>le high-quality historical drama <strong>and</strong> very<br />
subtle characterization, often with very strong women characters.”<br />
In a next stage of the screenplay’s development, Swedish-born<br />
Maria von Hel<strong>and</strong> – Tossell had produced her feature film debut<br />
german films quarterly in production<br />
4 · <strong>2008</strong> 22<br />
Heike Makatsch as “Hilde”<br />
(photo © Egoli Tossell Film/MMC/Bernd Spauke)
Big Girls Don’t Cry in 2001 – then prepared a new version of the script<br />
which gave a new perspective to the story. “Having not grown up<br />
with Hildegard Knef, neither Maria nor I had any pre-conceptions<br />
about who she was – or indeed who she later became,” Tossell<br />
explains. “Maria was able to take a totally fresh look at her life.”<br />
“Knef ’s life was dictated by the world she was brought up in,” she<br />
continues, stressing that Wessel’s take on the multi-talent is “a human<br />
story <strong>and</strong> not a walk through <strong>German</strong> history.”<br />
The 9.5 million Euros production by Berlin-based Egoli Tossell Film in<br />
co-production with Cologne’s MMC Independent <strong>and</strong> the postproduction<br />
company Pictorion – DAS WERK was filmed over<br />
the summer at original locations in Berlin such as the Philharmonie<br />
(<strong>for</strong> Knef ’s legendary concert in 1966), Tempelhof Airport, the<br />
Schiller Theater (<strong>for</strong> the premiere of her 1950 film Die Suenderin), <strong>and</strong><br />
at the Babelsberg studios be<strong>for</strong>e moving on to locations in<br />
Magdeburg, Bonn <strong>and</strong> Cologne <strong>and</strong> interior sets at the MMC studios<br />
in Cologne-Huerth, while locations in South Africa doubled up <strong>for</strong><br />
Hollywood <strong>and</strong> London.<br />
Apart from Makatsch who plays the pivotal role of Hildegard Knef<br />
<strong>and</strong> has also recorded new arrangements of her songs with the WDR<br />
Big B<strong>and</strong> <strong>for</strong> the film, Wessel’s Hilde has put an impressive cast<br />
together <strong>for</strong> the other parts, ranging from Michael Gwisdek as<br />
Knef ’s beloved gr<strong>and</strong>father through Monica Bleibtreu as the Ufa<br />
casting director Else Bongers to Sylvester Groth as the theater<br />
director Boleslaw Barlog <strong>and</strong> Hanns Zischler as the legendary film<br />
producer Erich Pommer.<br />
Shortly be<strong>for</strong>e shooting began in June, the production l<strong>and</strong>ed a coup<br />
by casting the <strong>German</strong> jazz <strong>and</strong> swing musician Roger Cicero in his<br />
first acting role as the musician Ricci Blum, a figure loosely based on a<br />
real-life character who meets Knef at important stages in her life.<br />
In addition, Tossell speaks of “a gift from heaven” in the casting of the<br />
young British actor Dan Stevens (starring in the BBC’s new adaptation<br />
of Sense & Sensibility) in his first cinema role as David Cameron,<br />
the actor <strong>and</strong> director who was married to Hildegard Knef from 1962<br />
to 1976. “He looks the part <strong>and</strong> also happens to speak <strong>German</strong>,” says<br />
Tossell, who is planning to release the film in <strong>German</strong> cinemas<br />
through Warner Bros. next March.<br />
MB<br />
Hitler vor Gericht<br />
Type of Project Docudrama Genre TV Movie Production<br />
Company Tellux-Film/Munich Producer Martin Choroba<br />
Director Bernd Fischerauer Screenplay Klaus Gietinger, Bernd<br />
Fischerauer Director of Photography Markus Fraunholz<br />
Editor Gaby Kroeber Production Design Rudi Czettl<br />
Principal Cast Johannes Zirner, Alex<strong>and</strong>er Held, Johannes<br />
Silberschneider, Franjo Marincic, Peter Fricke, George Meyer-Goll,<br />
Andreas Nickel, Heinrich Schmieder, Alex<strong>and</strong>er Goebel, Dieter<br />
Fischer Format 16 mm, color, 16:9 Shooting Language<br />
<strong>German</strong> Shooting in Munich, July – August <strong>2008</strong> <strong>German</strong><br />
Distributor TELEPOOL/Munich<br />
World Sales<br />
TELEPOOL GmbH · Ricarda Scherff<br />
Sonnenstrasse 21 · 80331 Munich/<strong>German</strong>y<br />
phone +49-89-55 87 60 · fax +49-89-55 87 61 88<br />
email: telepool@telepool.de · www.telepool.de<br />
Hitler did once st<strong>and</strong> trial <strong>for</strong> his crimes! Obviously, he escaped judgment<br />
at Nuremberg but thirty years earlier he was brought be<strong>for</strong>e the<br />
courts following the failure of what is known as the Beer Hall (or<br />
Munich) Coup of November 8, 1923. On that day Hitler, the popular<br />
World War I General Erich Ludendorff <strong>and</strong> other leaders of the<br />
Kampfbund (a league of “patriotic” fighting societies <strong>and</strong> the Nazis<br />
in Bavaria) tried unsuccessfully to gain power in Munich, <strong>and</strong><br />
<strong>German</strong>y.<br />
A painful mixture of melodrama <strong>and</strong> histrionics continued until the<br />
next day, when the conspirators decided to march – with no clear<br />
plan of where to go! They were met by the police who opened fire.<br />
Ludendorff stood his ground. Hitler fled. Four police <strong>and</strong> sixteen<br />
putschists were killed.<br />
We cut to Tuesday, February 26, 1924. Hitler st<strong>and</strong>s be<strong>for</strong>e the court,<br />
accused of high treason: his guilt is patently clear <strong>and</strong> the death penalty<br />
appears inevitable. Instead, the presiding judge, Georg Neithardt,<br />
opens the proceedings <strong>and</strong> gives Hitler the opportunity to make a<br />
four-hour speech denouncing the Weimar Republic <strong>and</strong> its government!<br />
“To underst<strong>and</strong> how this came about,” producer Martin Choroba<br />
says, “you have to realize that the three most influential politicians in<br />
Bavaria, Gustav von Kahr, Otto von Lossow <strong>and</strong> Hans Ritter von<br />
german films quarterly in production<br />
4 · <strong>2008</strong> 23<br />
Scene from “Hitler vor Gericht”<br />
(photo courtesy of Tellux-Film)
Seisser, who, essentially, controlled the state’s government, police <strong>and</strong><br />
military, were under the greatest pressure because they had coup<br />
plans of their own! Hitler’s trial could have brought their connections<br />
<strong>and</strong> conspiracies into the light!”<br />
Thus, the Bavarian justice system went through even less than the<br />
motions <strong>and</strong> Hitler had the luckiest of escapes. The murder, or at<br />
least manslaughter, of the four police officers was not even mentioned,<br />
the taking of Jewish hostages passed over <strong>and</strong> a bank robbery was<br />
reduced to a “confiscation”.<br />
Hitler received the minimum sentence of five years <strong>and</strong>, in another<br />
travesty of justice, permitted to apply <strong>for</strong> parole <strong>and</strong> his deportation<br />
obstructed. Just nine months after his arrest, he was back on the<br />
streets. The rest is sad history.<br />
“The trial is our <strong>for</strong>eground,” Choroba continues. We take that as the<br />
narrative thread <strong>and</strong> use flashbacks to witness Hitler’s putsch, first in<br />
the beer hall <strong>and</strong> then the march through the city the next day. From<br />
the different perspectives of Kahr, Seisser <strong>and</strong> Lossow we receive different<br />
views of the whole scenario as well as the underlying political<br />
situation.”<br />
“This enables us to examine who was responsible <strong>for</strong> the failure of<br />
the legal situation, what the chain of events was that enabled Hitler to<br />
escape the fate he deserved <strong>and</strong> who were the people who supported<br />
him. “It’s important to convey the then-prevailing mood <strong>and</strong> to<br />
explain the conditions which were the soil in which Hitler flourished<br />
later. He was treated with kid gloves as an instrument of the government.<br />
Then, as well as later, everyone underestimated him.”<br />
Kindersuche<br />
Scene from “Kindersuche”(photo © Ziegler<br />
Film GmbH & Co. KG/Britta Krehl)<br />
Type of Project TV Movie Genre Drama, History Production<br />
Company Ziegler Film/Berlin, in cooperation with<br />
SWR/Baden-Baden, ARD Degeto/Frankfurt, ARTE/Strasbourg,<br />
ORF/Vienna Producers Gabriela Sperl, Wolfgang Hantke<br />
Director Miguel Alex<strong>and</strong>re Screenplay Gabriela Sperl, based on<br />
an idea by Renate Michel Director of Photography Busso von<br />
Mueller Editor Tobias Forth Production Design Thomas Franz<br />
Principal Cast Felicitas Woll, Wotan Wilke Moehring, Inga<br />
Birkenfeld, Hermann Beyer, Roman Knizka, Magali Greif Casting<br />
Heta Mantscheff Casting Format Super 16, color, 16:9, Dolby 5.1<br />
SK<br />
Shooting Language <strong>German</strong> Shooting in Sulzburg,<br />
Sperenberg, Wrangelsburg, Berlin, June – August <strong>2008</strong><br />
Contact<br />
Ziegler Film GmbH & Co. KG · Thomas Petersen<br />
Neue Kantstrasse 14 · 14057 Berlin/<strong>German</strong>y<br />
phone +49-30-3 20 90 50 · fax +49-30-3 22 73 53<br />
email: petersen@ziegler-film.de<br />
www.ziegler-film.com<br />
A mother searches desperately <strong>for</strong> her daughter in the confusion <strong>and</strong><br />
chaos of post-war Europe. It is summer 1946. <strong>German</strong>y lies in ruins.<br />
Millions of displaced persons are on the move. At Gleiwitz/Gliwice<br />
station, Rosemarie Herrmann (Felicitas Woll) <strong>and</strong> family are trying<br />
to reach the train <strong>for</strong> western <strong>German</strong>y. Among the huge crowds,<br />
her ten-year-old daughter Marie (Magali Greif) becomes separated<br />
<strong>and</strong> vanishes in the teeming masses. The desperate Rosemarie,<br />
her father, sister <strong>and</strong> small son end up in Swabia. Rosemarie tries<br />
everything to find her daughter. Official channels prove no use. Then<br />
she meets Harald Bergmann (Wotan Wilke Moehring) who<br />
offers to help her. Rosemarie intensifies her search. Meanwhile, Marie<br />
is now in a children’s home on the Baltic. Her emotional <strong>and</strong> mental<br />
state is deteriorating.<br />
Gripping drama from Ziegler Film, one of the <strong>German</strong>y’s largest<br />
independent film <strong>and</strong> television producers. Founded in 1973 by<br />
Regina Ziegler, “Our aim,” she says, “is to awaken the interest<br />
<strong>and</strong> attention of the audience. This has always been a dem<strong>and</strong>ing<br />
market <strong>and</strong> the only way to stimulate an audience is with a profile of<br />
creativity <strong>and</strong> quality.”<br />
As Ziegler Film’s track record shows, it’s something they’re very good<br />
at! Past honors include the Golden Rose at Montreux, the <strong>German</strong><br />
Film Award <strong>and</strong> the Adolf Grimme Award. “We have always placed<br />
a constant focus on film,” Ziegler continues, “with productions such<br />
as Korczak (screened in Cannes), A Year of the Quiet Sun (Golden Lion<br />
Venice), Fabian (Oscar ® <strong>and</strong> Golden Globe nomination) <strong>and</strong> the Erotic<br />
Tales series (Oscar ® -nomination <strong>for</strong> The Dutch Master)”.<br />
For Kindersuche, the company was able to win two top names,<br />
Felicitas Woll <strong>and</strong> Wotan Wilke Moehring.<br />
An extremely versatile actress, one who puts the character be<strong>for</strong>e<br />
herself, Woll first became a household name in the comedy series<br />
Berlin, Berlin, <strong>for</strong> which she walked away with the Adolf Grimme<br />
Award <strong>and</strong> the Bavarian TV Award. And as her various credits show<br />
(Maedchen, Maedchen, Tatort, Dresden), she is equally at home on the<br />
big as well as small screen, able to cross genres with ease.<br />
Wotan Wilke Moehring makes <strong>for</strong> great onscreen tough guy presence<br />
with depth! A character actor, he’s much in dem<strong>and</strong> <strong>for</strong> both film<br />
<strong>and</strong> television. Yet to be seen in the Tom Cruise epic Valkyrie, his previous<br />
<strong>and</strong> extensive credits include Bang Boom Bang – Ein todsicheres<br />
Ding, Das Experiment, Lammbock, Antikoerper, <strong>and</strong> Nichts als<br />
Gespenster.<br />
Director Miguel Alex<strong>and</strong>re can also look back on an award-winning<br />
track record (not that he’s finished by any means!). In 2005 he<br />
won the Adolf Grimme Award <strong>for</strong> Gruesse aus Kaschmir. Gran<br />
Paradiso (2001) was nominated in the <strong>German</strong> Film Awards <strong>for</strong> Best<br />
Film, Best Supporting Actor <strong>and</strong> Best Supporting Actress. Der Pakt<br />
(1996) was recognized with a Golden Lion in Venice, while his About<br />
german films quarterly in production<br />
4 · <strong>2008</strong> 24
War (1993) was nominated <strong>for</strong> an Oscar ® in the category of Best<br />
Foreign Student Film.<br />
Creativity <strong>and</strong> quality: two givens at Ziegler Film, with<br />
Kindersuche, a gripping emotional drama, set to continue the<br />
trend.”<br />
Maennersache<br />
Gernot Roll, Mario Barth, Oliver Berben<br />
(photo © <strong>2008</strong> Constantin Film Verleih)<br />
Type of Project Feature Film Cinema Genre Comedy<br />
Production Company Constantin Film Produktion/Munich<br />
With backing from Medienboard Berlin-Br<strong>and</strong>enburg, <strong>German</strong><br />
Federal Film Fund (DFFF) Producer Oliver Berben Executive<br />
Producer Martin Moszkowicz Directors Gernot Roll, Mario<br />
Barth Screenplay Mario Barth, Dieter Tappert Director of<br />
Photography Gernot Roll Editor Carsten Eder Production<br />
Design Florian Lutz Principal Cast Mario Barth, Dieter Tappert,<br />
Michael Gwisdek, Anja Kling Casting Emrah Ertem Format HD,<br />
color, 1:1.85, blow-up to 35 mm, Dolby Digital Shooting<br />
Language <strong>German</strong> Shooting in Berlin, June – August <strong>2008</strong><br />
<strong>German</strong> Distributor Constantin Film Verleih/Munich<br />
Contact<br />
Constantin Film Produktion GmbH<br />
Feilitzschstrasse 6 · 80802 Munich/<strong>German</strong>y<br />
phone +49-89-44 44 60 0 · fax +49-89-44 44 60 666<br />
email: kes@constantinfilm.de · www.constantinfilm.de<br />
More than ten years ago, <strong>German</strong> st<strong>and</strong>-up comedian Mario Barth<br />
<strong>and</strong> colleague Dieter Tappert promised each other that when<br />
they hit the big time, they would write a screenplay <strong>for</strong> a feature film<br />
to star in – <strong>and</strong> whoever was the first one to get an offer would bring<br />
the other onboard the project.<br />
In the meantime, Barth <strong>and</strong> Tappert have both become established<br />
figures in the <strong>German</strong> comedy scene, Barth winning the <strong>German</strong><br />
Comedy Award on three occasions <strong>and</strong> being the author of the bestselling<br />
book Deutsch-Frau/Frau-Deutsch.<br />
As producer Oliver Berben recalls, plans <strong>for</strong> the duo’s feature film<br />
debut began in earnest two years ago when development of a screenplay<br />
began with Constantin Film in Munich.<br />
SK<br />
“The two had been thinking of a story <strong>for</strong> their first film <strong>for</strong> some<br />
time <strong>and</strong> we worked very closely together, with influence on my part<br />
as far as the film side was concerned <strong>and</strong> from their side <strong>for</strong> the<br />
comedy elements. Even be<strong>for</strong>e they began writing the screenplay,<br />
Mario had always wanted Michael Gwisdek to play his father <strong>and</strong><br />
then we came upon Anja Kling <strong>for</strong> the girlfriend. The idea of guest<br />
roles <strong>for</strong> Juergen Vogel <strong>and</strong> Uwe Ochsenknecht also came<br />
during the development.”<br />
Barth plays the shop assistant Paul in a pet shop in Berlin, who has<br />
dreams of becoming a successful comedian. However, nothing seems<br />
to go right until he starts making jokes about his best mate Hotte<br />
(Tappert) <strong>and</strong> girlfriend Susi (Kling). The audience goes wild with<br />
excitement, but Hotte <strong>and</strong> Susi are far from pleased. Paul has to decide<br />
– between friendship or career.<br />
Berben stresses that Maennersache (“A Man’s World”) “isn’t a<br />
st<strong>and</strong>up comedy show, but rather a film with its own plot. Our aim<br />
<strong>and</strong> desire is to give the audience what they know from Mario <strong>and</strong><br />
Dieter, but not just that – we want to give them a little more to make<br />
that difference!”<br />
He admits that humor is a genre which traditionally finds it hard to<br />
travel: “Apart from Jewish humor, this genre is very much a national<br />
concern with its own stars in the comedy <strong>and</strong> st<strong>and</strong>-up fields. With<br />
Mario, <strong>for</strong> example, he is clearly aiming at a <strong>German</strong> audience by<br />
drawing from his observations from his day-to-day life <strong>and</strong> what he<br />
sees around him.”<br />
“But that doesn’t mean that this humor can’t appeal to other people<br />
internationally. The story here in Maennersache isn’t a purely<br />
<strong>German</strong> topic as the logline – ’two men <strong>and</strong> a woman, she’s the problem’<br />
– shows. On the one h<strong>and</strong>, you have the humor dealing with the<br />
differences between men <strong>and</strong> women <strong>and</strong> then there is a <strong>for</strong>m of selfdeprecating<br />
humor that is able to laugh about oneself. That’s something<br />
that one doesn’t see that often in <strong>German</strong>y.”<br />
With two greenhorns in front of the camera, Berben made sure that<br />
he had someone experienced behind the camera – <strong>and</strong> who better<br />
than director/DoP Gernot Roll, whose career has managed to<br />
combine work on such varying productions as Heimat, Robber<br />
Hotzenplotz <strong>and</strong> Ballermann 8.<br />
“It was my wish from the outset that we had a director with extensive<br />
experience both of film und comedy, who was also someone<br />
prepared to work with a person like Mario who knows exactly what<br />
he wants, but is not necessarily conversant with the technical side,”<br />
Berben says, explaining the decision of picking Roll as a co-director<br />
<strong>for</strong> Barth.<br />
MB<br />
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4 · <strong>2008</strong> 25
Romy<br />
Jessica Schwarz as “Romy”<br />
(photo © SWR/Phoenix/Joachim Gern)<br />
Type of Project TV Movie Genre Biopic, Drama Production<br />
Company Phoebus Film/Huerth, in co-production with<br />
SWR/Baden-Baden & Stuttgart, WDR/Cologne, Degeto/Frankfurt,<br />
ORF/Vienna, NDR/Hamburg With backing from <strong>Films</strong>tiftung<br />
NRW, FilmFernsehFonds Bayern, Medienboard Berlin-Br<strong>and</strong>enburg,<br />
L<strong>and</strong> Salzburg Producers Markus Brunnemann, Nicole Galley<br />
Commissioning Editors Carl Bergengruen (SWR), Michael<br />
Schmidl (SWR), Michael André (WDR), Hans-Wolfgang Jurgan<br />
(Degeto), Klaus Lintschinger (ORF), Doris Heinze (NDR) Director<br />
Torsten C. Fischer Screenplay Benedikt Roeskau Director of<br />
Photography Holly Fink Editor Benjamin Hembus Music by<br />
Annette Focks Production Design Martin Schreiber Principal<br />
Cast Jessica Schwarz, Thomas Kretschmann, Guillaume Delorme,<br />
Maresa Hoerbiger, Heinz Hoenig Casting Ingrid Cuenca Format<br />
16 mm, color, 16:9, Stereo Shooting Language <strong>German</strong><br />
Shooting in Paris, <strong>French</strong> Riviera, North Rhine-Westphalia,<br />
Bavaria, Salzburg, Berlin, September – November <strong>2008</strong> <strong>German</strong><br />
Distributor Phoebus Film/Huerth<br />
World Sales<br />
Beta Film GmbH · Dirk Schuerhoff<br />
Gruenwalder Weg 28d · 82041 Oberhaching/<strong>German</strong>y<br />
phone +49-89-67 34 69 80 · fax+49-89-67 34 69 888<br />
email: dirk.schuerhoff@betafilm.com<br />
www.betafilm.com<br />
“I must always go the most extreme, even if it’s not good. I love going<br />
to the limits of the possible, professionally as in my private life. I<br />
regret nothing” – Romy Schneider.<br />
How many stars, in whichever field, are instantly recognizable from<br />
just their first name? Elvis Presley, from the world of music, of<br />
course. But actors? Romy Schneider is one of the very few to have<br />
earned a place among that elite pantheon <strong>and</strong> in this, a biopic whose<br />
title says it all, the award-winning the Jessica Schwarz, demonstrates<br />
that behind her beauty lie great acting chops.<br />
Romy, the film, depicts the most important events <strong>and</strong> passages in<br />
the life of this world star, a life that was lived both passionately <strong>and</strong><br />
intensively <strong>and</strong> fascinates still to this very day.<br />
Romy Schneider was a woman, an artist, who remained a puzzle to<br />
the world as well as herself. There was the myth <strong>and</strong> reality of the<br />
celebrated <strong>and</strong> sought-after actress, <strong>and</strong> the sad reality of a woman<br />
who achieved such great success <strong>and</strong> yet searched unceasingly <strong>for</strong> the<br />
happiness <strong>and</strong> love that were to elude her.<br />
She spent her childhood years in a boarding school, far from her<br />
parents. She fell deeply in love with <strong>French</strong> superstar Alain Delon, had<br />
what is best-termed a difficult marriage to Harry Meyen, suffered<br />
great personal loss <strong>and</strong> tragedy (including the death of her son) <strong>and</strong>,<br />
last but not least, fought constantly to escape her image as Sissi (the<br />
role of the empress Elisabeth of Austria she played in the 1955, 1956<br />
<strong>and</strong> 1957 films of the same title). It was this struggle, just one of the<br />
many which defined her, that was to take her to France <strong>and</strong> there,<br />
finally, enable her rise to become a great international <strong>and</strong> awardwinning<br />
star.<br />
Alongside Jessica Schwarz, Thomas Kretschmann (who has<br />
already made a name <strong>for</strong> himself both in <strong>German</strong> as well as<br />
Hollywood cinema) plays Harry Meyen, Romy’s first husb<strong>and</strong>, whilst<br />
<strong>French</strong> shooting star Guillaume Delorme plays Alain Delon.<br />
Maresa Hoerbiger appears as Magda Schneider <strong>and</strong> Heinz<br />
Hoenig plays her stepfather, Herbert Blatzheim. The younger Romy<br />
is portrayed by Alicia von Rittberg <strong>and</strong> Stella Kunkat,<br />
respectively.<br />
Romy is not a kiss <strong>and</strong> tell piece of sensationalism <strong>for</strong> sc<strong>and</strong>almongers,<br />
but a respectful depiction of this unique <strong>and</strong> deservedly venerated<br />
woman who lived her life, as she herself said, to the extreme. But<br />
as to her regrets? She surely had a great many.<br />
SK<br />
Rosamunde Pilcher:<br />
Vier Jahreszeiten<br />
Type of Project Mini-Series Genre Drama, Love Story<br />
Production Company Tele Muenchen/Munich, in cooperation<br />
with Gate Television Production/Munich & London Producers<br />
Herbert Kloiber, Rikolt von Gagern Director Giles Foster<br />
Screenplay Matthew Thomas, Trevor Bowen Director of<br />
Photography Tony Imi Editor Catherine Creed Music by<br />
Richard Black<strong>for</strong>d Production Design Martyn John Principal<br />
Cast Senta Berger, Tom Conti, Michael York, Paula Kalenberg,<br />
Franco Nero, Max V. Pufendorf Casting Beth Charkham Format<br />
16 mm, color, 16:9, Dolby 5.1 Shooting Language English<br />
Shooting in Cornwall & Bath/UK, June – August <strong>2008</strong><br />
german films quarterly in production<br />
4 · <strong>2008</strong> 26<br />
From the set of “Vier Jahreszeiten”<br />
(photo © TMG/ Stephen Morely)
World Sales<br />
TMG International · Carlos Hertel<br />
Kaufingerstrasse 24 · 80331 Munich/<strong>German</strong>y<br />
phone +49-89-29 09 30 · fax +49-89-29 09 31 09<br />
email: sales@tmg.de · www.tmg.de<br />
An internationally acclaimed, star studded, cast brings yet another of<br />
the more than prolific Rosamunde Pilcher’s great romantic works to<br />
the small screen. What is here not to like?!<br />
This time, the tried <strong>and</strong> tested combination of the Tele Muenchen<br />
Gruppe <strong>and</strong> Gate Film Television proudly presents Vier<br />
Jahreszeiten (“The Four Seasons Collection”). The drama unfolds,<br />
as the title has it, over the course of one year in the lives of the aristocratic<br />
Combe family.<br />
Endelion, their magnificent country seat, the crown of Cornwall’s<br />
rugged coast (a setting no stranger to millions of Pilcher’s fans), sets<br />
the scene <strong>for</strong> this sweeping saga which revolves around three women<br />
of three generations. There is Julia, previously banished from Endelion<br />
<strong>for</strong> “crimes” to be revealed, whose return is the trigger <strong>for</strong> the turbulent<br />
events. Abby, her gr<strong>and</strong>-daughter, wants to know the secrets<br />
of her past so that she can face the future. There is Charlotte, Julia’s<br />
daughter <strong>and</strong> Abby’s mother who supposedly killed herself but is still<br />
very much alive in the hearts of the Combe family – <strong>and</strong> is maybe not<br />
quite as dead, or as far away from Endelion, as some would believe.<br />
All of which would mean nothing without the right cast to bring Vier<br />
Jahreszeiten to life.<br />
Senta Berger (who plays Julia) has received numerous awards,<br />
including a Bambi <strong>and</strong> an Adolf Grimme Award garnered over a<br />
career that started in 1955 <strong>and</strong> has not slowed since. Tom Conti<br />
has been nominated <strong>for</strong> Golden Globes, the Bafta <strong>and</strong> an Oscar ® .<br />
Michael York, whom even Queen Elizabeth II decorated with an<br />
OBE, has an Emmy nomination to his hugely extensive credits. And<br />
last but not least in the line-up, Franco Nero (whom many will<br />
remember as one of the nasties in Die Hard 2) was once nominated<br />
<strong>for</strong> a Golden Globe.<br />
Directing Vier Jahreszeiten is British TV-movie <strong>and</strong> mini-series<br />
stalwart, Giles Foster, whose credits include Foyle’s War, Relative<br />
Strangers, Bertie <strong>and</strong> Elizabeth <strong>and</strong> Talking Heads, all or most of which<br />
would be instantly familiar to British audiences <strong>and</strong> then some.<br />
Rounding up the top level technical credits is writer (<strong>and</strong> also actor)<br />
Trevor Bowen, who is at home wherever the drama calls <strong>for</strong> characters<br />
to say <strong>and</strong> do something <strong>and</strong> actors to act, as opposed to<br />
st<strong>and</strong>ing in front of blue or green screens <strong>and</strong> having special effects<br />
added in post-production.<br />
But this is really preaching to the converted.<br />
Vier Jahreszeiten is another piece of classic Pilcher that pushes<br />
all the right buttons, both be<strong>for</strong>e <strong>and</strong> behind the camera. Romantic<br />
fiction does not come any better than this.<br />
SK<br />
Schwerkraft<br />
Type of Project Feature Film Cinema Genre Drama<br />
Production Company FRISBEEFILMS/Berlin, in co-production<br />
with ZDF Das kleine Fernsehspiel/Mainz, dffb/Berlin, in cooperation<br />
with ARTE/Strasbourg With backing from Filmfoerderungsanstalt<br />
(FFA), Medienboard Berlin-Br<strong>and</strong>enburg, Mitteldeutsche<br />
Medienfoerderung, <strong>German</strong> Federal Film Fund (DFFF) Producers<br />
Alex<strong>and</strong>er Bickenbach, Manuel Bickenbach, Valeska Bochow<br />
Director Maximilian Erlenwein Screenplay Maximilian Erlenwein<br />
Director of Photography Ngo The Chau Editor Toni<br />
Froschhammer Production Design Petra Albert Principal<br />
Cast Fabian Hinrichs, Juergen Vogel, Nora von Waldstaetten, Uwe<br />
Bohm Format 35 mm, color, cs, Dolby Digital 5.1 Shooting<br />
Language <strong>German</strong> Shooting in Halle, Leipzig, November –<br />
December <strong>2008</strong> <strong>German</strong> Distributor Farbfilm Verleih/Berlin<br />
World Sales<br />
TELEPOOL GmbH · Anja Uecker<br />
Sonnenstrasse 21 · 80331 Munich/<strong>German</strong>y<br />
phone +49-89-55 87 60 · fax +49-89-55 87 62 29<br />
email: cinepool@telepool.de · www.telepool.de<br />
A mild mannered bank clerk experiences trauma in the workplace <strong>and</strong><br />
goes rogue in this latest production from Berlin-based FRISBEE-<br />
FILMS. That’s the premise <strong>for</strong> Frederik Feinermann’s radical <strong>and</strong> not<br />
so gradual change from would-be employee of the month, if anybody<br />
really noticed him, to career criminal as his dark side takes over.<br />
Everyday rules <strong>and</strong> regulations lose their value, he finally begins a<br />
relationship with the woman, Nadine, whom he has until now observed<br />
only from afar. He hooks up with Vince, an ex-convict, <strong>and</strong>,<br />
together, they undertake a series of burglaries, by using insider in<strong>for</strong>mation<br />
from the bank where Frederik works. But what begins as an<br />
adrenaline-fuelled hobby soon turns violent <strong>and</strong> both men spiral<br />
deeper into dangerous places. It can only be a matter of time be<strong>for</strong>e<br />
someone ends up dead. But who?<br />
“Schwerkraft (“Gravity”) is a strange story,” writer-director<br />
Maximilian Erlenwein admits with a grin. “Frederik is trapped in<br />
the prison of his own life, lonely <strong>and</strong> unhappy. The more rogue he<br />
goes, the freer he becomes. But he is also a disturbed man who acts<br />
unmorally. So how should we empathize with someone like this?”<br />
For Alex<strong>and</strong>er Bickenbach, producer <strong>and</strong> co-founder (with<br />
brother Manuel Bickenbach) of FRISBEEFILMS, it’s because<br />
“there’s a Frederik in each one of us! We all have lurking depths, a<br />
german films quarterly in production<br />
4 · <strong>2008</strong> 27<br />
Scene from “Schwerkraft”<br />
(photo courtesy of FRISBEEFILMS)
secret desire to do things outside common sense <strong>and</strong> the norm.”<br />
Despite the protagonist’s sick behavior, it’s a tribute to all concerned<br />
that he becomes increasingly likeable as the film unfolds.<br />
“Which is also the tragedy,” Manuel Bickenbach says, “because it’s<br />
only when he crosses the lines of society that he finds himself savoring<br />
genuine human warmth. He’s a person in need of love, just as we<br />
all are.”<br />
Schwerkraft, which has Erlenwein <strong>and</strong> DoP Ngo The Chau<br />
continuing their ongoing cooperation, draws its tension from audience<br />
fears that Frederik will become a victim of himself. But here the<br />
director has chosen “not to expose or make fun of him, but to take<br />
him seriously <strong>and</strong> allow him his dignity. The story may sound dark <strong>and</strong><br />
tragic, but it’s told with tempo, humor <strong>and</strong> scurrility, very much in the<br />
vein of, say, Taxi Driver, Fight Club <strong>and</strong> Trainspotting.”<br />
The film was written especially <strong>for</strong> actor Fabian Hinrichs (66/67,<br />
Sophie Scholl – The Final Days, Blackout) with whom Erlenwein shared<br />
an apartment <strong>for</strong> two years <strong>and</strong> co-developed the character of<br />
Frederik. Playing his buddy in crime is Juergen Vogel whose many<br />
credits include such smash hits as The Free Will, The Wave, <strong>and</strong> Rabbit<br />
Without Ears.<br />
Founded in 2006 by Alex<strong>and</strong>er <strong>and</strong> Manuel Bickenbach, FRISBEE-<br />
FILMS places its values on strong emotionality, working with outst<strong>and</strong>ing<br />
talents to become an important player in the international independent<br />
film business. Their greatest successes to date are<br />
Nevermore, Berlin – 1 st of May, <strong>and</strong> Let the Cat Out of the Bag: the first<br />
of which won the Student Oscar ® 2007.<br />
SK<br />
This Is Love<br />
Type of Project Feature Film Cinema Genre Drama<br />
Production Company Badl<strong>and</strong>s Film/Berlin, in co-production<br />
with Schwarzweiss Filmproduktion/Berlin, cine plus Filmproduktion/<br />
Berlin, WDR/Cologne, ARTE/Strasbourg With backing from<br />
<strong>Films</strong>tiftung NRW, Medienboard Berlin-Br<strong>and</strong>enburg, BKM,<br />
Filmfoerderungsanstalt (FFA), <strong>German</strong> Federal Film Fund (DFFF)<br />
Producers Matthias Glasner, Lars Kraume, Juergen Vogel<br />
Director Matthias Glasner Screenplay Matthias Glasner<br />
Director of Photography Sonja Rom Editor Mona Braeuer<br />
Music by Christoph Kaiser, Julian Maas Production Design<br />
Frank Pruemmer Principal Cast Corinna Harfouch, Jens Albinus,<br />
Duyen Pham, Juergen Vogel, Katja Danowski, Devid Striesow<br />
Shooting Language <strong>German</strong> Format HD, blow-up to 35 mm,<br />
color, 1:1.85, Dolby SR Shooting in Vietnam, Berlin, North Rhine-<br />
Westphalia, July – September <strong>2008</strong> <strong>German</strong> Distributor<br />
Kinowelt Filmverleih/Leipzig<br />
World Sales<br />
TrustNordisk · Susan Wendt<br />
Filmbyen 12 · 2650 Hvidovre/Denmark<br />
phone +45-36-86 87 88 · fax +45-36-77 44 48<br />
email: post@trust-film.dk · www.trust-film.dk<br />
Principal photography wrapped in September on This Is Love<br />
which is the first project of the Berlin-based production company<br />
Badl<strong>and</strong>s Film director Matthias Glasner set up last year with<br />
fellow filmmaker Lars Kraume <strong>and</strong> actor Juergen Vogel.<br />
“The film’s title comes from the song This Is Always,” Glasner explains.<br />
“I found this romantic text also to be so threatening because there is<br />
that level about the obsession of love. It’s like The Police’s song Every<br />
Breath You Take, which one can see both ways. It is a seemingly<br />
romantic film which also looks at the dark sides of love, of suffering<br />
<strong>and</strong> breaking down, <strong>and</strong> everything love can do to us <strong>and</strong> change our<br />
personality.”<br />
Set in Vietnam <strong>and</strong> <strong>German</strong>y, This Is Love centers on Chris <strong>and</strong><br />
the nine-year-old Jenjira on the run from the mafia. Together with his<br />
friend Holger, Chris bought the young Vietnamese girl’s freedom from<br />
human traffickers – without actually being able to pay. Meanwhile, the<br />
female detective Maggie learns after 16 years why her husb<strong>and</strong> up <strong>and</strong><br />
left her without a word. These two worlds come together when Chris<br />
is accused of murder <strong>and</strong> Maggie is charged with interrogating him …<br />
german films quarterly in production<br />
4 · <strong>2008</strong> 28<br />
“This Is Love” producers Lars Kraume,<br />
Matthias Glasner, Juergen Vogel<br />
(photo courtesy of Just Publicity)
As Glasner recalls, the idea <strong>for</strong> the new film came during his research<br />
<strong>for</strong> his previous feature film The Free Will which was shown in the<br />
Berlinale Official Competition in 2005: “I came across a story which<br />
moved me a lot about a man falling in love with a child <strong>and</strong> suffering<br />
because he knows that he can never live this love, that he will never<br />
be able to really fall in love. The other story around the Maggie character<br />
played by Corinna Harfouch was about being left <strong>and</strong> not<br />
knowing the reason why. These were issues which were of interest to<br />
me <strong>and</strong> people in my circle of friends, so I decided to address the<br />
question of love <strong>and</strong> suffering.”<br />
While he had Corinna Harfouch in mind from the outset <strong>for</strong> the part<br />
of Maggie whilst writing the screenplay – she had appeared in two of<br />
his feature films Sexy Sadie <strong>and</strong> F<strong>and</strong>ango <strong>and</strong> several TV movies – a<br />
happy coincidence brought him to the choice of the lead actor, the<br />
Dane Jens Albinus.<br />
“I was working on the screenplay in Hong Kong <strong>and</strong> happened to see<br />
Lars von Trier’s The Boss of It All where Jens has the lead. I was quite<br />
impressed by his per<strong>for</strong>mance <strong>and</strong> then learned by chance that he is<br />
also represented by my agency in Berlin. I liked the idea of writing a<br />
part <strong>for</strong> someone I didn’t know in the same way as I did with Sabine<br />
Timoteo <strong>for</strong> The Free Will.”<br />
Actor Juergen Vogel, who won a Silver Bear at the 2005 Berlinale <strong>for</strong><br />
his work as lead actor/co-screenwriter <strong>and</strong> producer of The Free Will,<br />
notes that the success of this film nationally <strong>and</strong> internationally was a<br />
great help when they were putting the financing together <strong>for</strong> This Is<br />
Love.<br />
“Stylistically <strong>and</strong> <strong>for</strong>mally, it is a quite different film from The Free Will,”<br />
Vogel explains. “The story offers an insight into a world that one is not<br />
aware of, it is quite an adventure.”<br />
The shoot began with two days of filming on location in Saigon – with<br />
the local service producer Star Film h<strong>and</strong>ling the logistics on the<br />
ground – be<strong>for</strong>e moving back to Berlin <strong>and</strong> then interiors in North<br />
Rhine-Westphalia.<br />
Vogel adds that the decision to use the new RED digital camera had<br />
financial <strong>and</strong> artistic reasons: “When you are shooting with an elevenyear-old<br />
child who is appearing in front of the camera <strong>for</strong> the first<br />
time, it is much easier to work with two cameras rather than having<br />
to have a 35 mm setup. Moreover, we found that you can create a<br />
very interesting aesthetic <strong>for</strong> the special kind of world where this film<br />
plays.”<br />
“Using the RED was ideal <strong>for</strong> Matthias so that he could improvise on<br />
set,” adds executive producer Joerg Schulze of cine plus<br />
Filmproduktion whose previous credits include Philip Groening’s<br />
Into Great Silence. “We had only two days of shooting in Vietnam,<br />
which was important because you can’t capture that atmosphere of<br />
the Saigon streets <strong>and</strong> clubs in the studio in <strong>German</strong>y, but using the<br />
RED meant that we had plenty of material to work from.”<br />
“That’s certainly an advantage of the RED that you have lots of material,”<br />
Glasner agrees, “<strong>and</strong> I also like the fact that what you see directly<br />
on the HD monitor is the final result.”<br />
MB<br />
Transfer<br />
Type of Project Feature Film Cinema Genre Fantasy/Science<br />
Fiction Production Company Schiwago Film/Berlin, in co-production<br />
with ZDF Das kleine Fernsehspiel/Mainz, ARTE/Strasbourg<br />
With backing from MFG Baden-Wuerttemberg, Medienboard<br />
Berlin-Br<strong>and</strong>enburg, Filmfoerderungsanstalt (FFA), <strong>German</strong> Federal<br />
Film Fund (DFFF) Producers Marcos Kantis, Martin Lehwald, Michal<br />
Pokorny Commissioning Editor Christian Cloos Director<br />
Damir Lukacevic Screenplay Damir Lukacevic, Gabi Blauert,<br />
Gerald Klein Director of Photography Francisco Dominguez<br />
Editor Frank Brummundt Music by Gerd Wilden Production<br />
Design Tom Hornig Principal Cast B.J. Britt, Regine Nehy, Hans<br />
Michael Rehberg, Ingrid Andree, Jeanette Hain, Mehmet Kurtulus,<br />
Ulrich Voss Casting Lisa Hamill Format 4K HD, blow-up to 35<br />
mm, color, 1:1.85, Dolby Digital Shooting Languages <strong>German</strong> &<br />
English Shooting in Ueberlingen, Stuttgart, <strong>and</strong> Berlin, August –<br />
September <strong>2008</strong> <strong>German</strong> Distributor Novapool Pictures/Berlin<br />
Contact<br />
Schiwago Film GmbH<br />
Gneisenaustrasse 66 · 10961 Berlin/<strong>German</strong>y<br />
phone +49-30-69 53 98 10 · fax +49-30-69 53 98 50<br />
email: info@schiwagofilm.de · www.schiwagofilm.de<br />
Man’s dream of eternal youth <strong>and</strong> life – as old as humanity itself – is<br />
the subject of Damir Lukacevic’s second feature film Transfer<br />
which wrapped on location in Berlin in mid-September.<br />
Originally, Croatian-born Lukacevic, who studied Directing at the<br />
<strong>German</strong> Film & Television Academy (dffb) in Berlin, had planned to<br />
adapt a short story entitled Thous<strong>and</strong> Euros, One Life by veteran<br />
Spanish authoress Eli Barcelo as one of the films in a series planned by<br />
ZDF’s Das kleine Fernsehspiel under the banner of “2020”, presenting<br />
different visions of how the future might look.<br />
Realizing that Lukacevic’s proposed adaptation could not be made <strong>for</strong><br />
2020’s budget of 100,000 Euros, commissioning editor Christian<br />
Cloos accompanied the young filmmaker in further developing the<br />
project <strong>and</strong> actively looking <strong>for</strong> a production company to come onboard.<br />
Berlin’s Schiwago Film was one of the producers approached by<br />
Cloos <strong>and</strong> Lukacevic <strong>and</strong> decided to take on the job of further<br />
development of the screenplay <strong>and</strong> raising the financing.<br />
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Scene from “Transfer”<br />
(photo © Schiwago Film/Novapool Pictures)
“We had a very positive reaction from the film funders to Damir<br />
because they knew his last feature, Homecoming, <strong>and</strong> were impressed<br />
by the screenplay <strong>for</strong> Transfer,” producer Marcos Kantis<br />
recalls.<br />
The film’s plot centers on the elderly couple Hermann <strong>and</strong> Anna who<br />
have the dream of beginning anew at the end of their lives. In a sanatorium,<br />
they buy the young bodies of Apolain <strong>and</strong> Sarah <strong>for</strong> a million<br />
Euros <strong>and</strong>, in a personality transfer developed in <strong>German</strong>y, the<br />
couple received control over these bodies <strong>for</strong> 20 hours each day.<br />
Apolain <strong>and</strong> Sarah are only themselves again <strong>for</strong> four hours each<br />
night …<br />
“I don’t think there is really anything comparable to this film in<br />
<strong>German</strong> cinema,” says Kantis. “It is a very modern, futuristic story <strong>and</strong><br />
a love story. There is a lot of tongue-in-cheek here, but it is also a subject<br />
which can be discussed in ethical <strong>and</strong> moral terms in all seriousness.<br />
Moreover, we are medically <strong>and</strong> technologically up-to-date, <strong>and</strong><br />
even a bit further.”<br />
While the elderly couple of Hermann <strong>and</strong> Anna were cast relatively<br />
quickly, finding the two African actors took a lot more time.<br />
“I hadn’t known Ingrid Andree be<strong>for</strong>e, but I was fascinated by her<br />
visually <strong>and</strong> what I read about her,” Lukacevic explains. The veteran<br />
actress had been a big star in <strong>German</strong> cinema during the 1950s in such<br />
films as Rolf Thiele’s Primanerinnen, Wolfgang Becker’s Peter Voss, Der<br />
Millionendieb <strong>and</strong> Helmut Kaeutner’s Der Rest ist Schweigen, but had<br />
concentrated on stage work <strong>for</strong> the theater in the past 20 years. “I<br />
wrote to her about my project without knowing her, <strong>and</strong> two days<br />
later she replied that she would like to be part of the film <strong>and</strong> that she<br />
had fallen in love with the script,” he says.<br />
“And it was her suggestion that we approach Hans Michael Rehberg<br />
– with whom she had often appeared on stage – <strong>for</strong> the part of<br />
Hermann,” adds Kantis.<br />
Finding the right actors <strong>for</strong> Apolain <strong>and</strong> Sarah led the director <strong>and</strong><br />
producers to casting sessions in <strong>German</strong>y, France, South Africa,<br />
London, <strong>and</strong>, finally, Los Angeles. Thanks to casting director Lisa<br />
Hamill they could cast B.J. Britt – whose past credits include Victor<br />
Salva’s Peaceful Warrior, Tammi Sutton’s Sutures <strong>and</strong> the CSI Miami TV<br />
series – <strong>and</strong> Regine Nehy who appeared this year opposite Samuel L.<br />
Jackson in Neil LaBute’s Lakeview Terrace.<br />
“The story was so structured that we needed young actors between<br />
20 <strong>and</strong> 30, who are attractive, have a great body <strong>and</strong> are so good as<br />
actors that they can portray the difference between an African <strong>and</strong> a<br />
white man or woman,” Lukacevic says.<br />
And Mehmet Kurtulus, who appears with his dark locks bleached<br />
peroxide blonde <strong>and</strong> wearing blue contact lenses, gives an otherworldly<br />
dimension to the film by speaking his lines in English (he will<br />
dub himself into <strong>German</strong> <strong>for</strong> the theatrical release in <strong>German</strong>y by<br />
Novapool Pictures next year).<br />
After Matthias Glasner’s This Is Love, Transfer is the second<br />
<strong>German</strong> feature film this summer to deploy the RED One 4K HD<br />
camera as an alternative to 35 mm. “We did some tests with the<br />
camera be<strong>for</strong>eh<strong>and</strong> <strong>and</strong> were extremely convinced,” Lukacevic<br />
recalls. “It has another finish instead of the grainy look of 16 mm.<br />
Everything is a little bit more perfect <strong>and</strong> that is ideal <strong>for</strong> this futuristic<br />
story. Nevertheless, there is always a risk with such a camera <strong>and</strong> the<br />
occasional teething troubles.”<br />
“You have a needle-sharp picture with this camera,” Kantis adds. “At<br />
the same time, it all remains a little artificial, but that’s something<br />
which supports the production design <strong>and</strong> the actors in the frame.”<br />
Unter Bauern<br />
Type of Project Feature Film Cinema Genre History<br />
Production Company FilmForm/Cologne, P<strong>and</strong>ora Film/<br />
Cologne, 3L Filmproduktion/Dortmund, in co-production with<br />
Acajou <strong>Films</strong>/Paris, WDR/Cologne, ARTE/Strasbourg With<br />
backing from <strong>Films</strong>tiftung NRW, Eurimages, Filmfoerderungsanstalt<br />
(FFA), <strong>German</strong> Federal Film Fund (DFFF) Producers<br />
Joachim von Mengershausen, Karl Baumgartner, Werner Wirsing<br />
Co-Producers Gebhard Henke & Michael Andre (WDR), Pascal<br />
Judelewicz (Acajou <strong>Films</strong>) Director Ludi Boeken Screenplay<br />
Otto Jaegersberg, Imo Moszkowicz, Heidrun Schleef Director of<br />
Photography Dani Schneor Editor Susan Fenn Music by David<br />
Greilsamm Production Design Agnette Schloesser Principal<br />
Cast Veronica Ferres, Armin Rohde, Margarita Broich, Martin Horn,<br />
Lia Hoensbroech, Louisa Mix Casting Filmcast Sabine<br />
Schwedhelm/Duesseldorf Format S16 mm, color, 1:1.85, blow-up<br />
to 35 mm, Dolby SR Shooting Language <strong>German</strong> Shooting in<br />
Duelmen, Wadersloh, Lippstadt, August – October <strong>2008</strong> <strong>German</strong><br />
Distributor 3L Licensing/Dortmund<br />
World Sales<br />
Beta Cinema / Dept. of Beta Film GmbH<br />
Andreas Rothbauer<br />
Gruenwalder Weg 28 d · 82041 Oberhaching/<strong>German</strong>y<br />
phone +49-89-67 34 69 80 · fax +49-89-6 73 46 98 88<br />
email: ARothbauer@betacinema.com<br />
www.betacinema.com<br />
“It is about people rather than ideology,” says producer Joachim<br />
von Mengershausen about Unter Bauern (“Among<br />
Farmers”) which is based on the memoirs of Marga Spiegel that were<br />
published in book <strong>for</strong>m under the title of Retter in der Nacht in 1969<br />
<strong>and</strong> have been adapted <strong>for</strong> the screen by Otto Jaegersberg, Imo<br />
Moszkowicz <strong>and</strong> Heidrun Schleef.<br />
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MB<br />
Ludi Boeken<br />
(photo © Petra Seeger/FilmForm Koeln)
The <strong>German</strong>-<strong>French</strong> co-production is – after the documentary In<br />
Search of Memory by Petra Seeger – the second <strong>for</strong>ay into production<br />
<strong>for</strong> Mengershausen’s Cologne-based company FilmForm, although<br />
the <strong>for</strong>mer commissioning editor at WDR can look back on an extensive<br />
career in broadcasting with involvement in such prestige projects<br />
as Edgar Reitz’s Heimat family chronicles.<br />
Unter Bauern recounts how some courageous farmers in the<br />
Muensterl<strong>and</strong> region gave refuge to Marga Spiegel’s husb<strong>and</strong> Menne,<br />
herself <strong>and</strong> her daughter under false names in their farmhouse between<br />
1943 <strong>and</strong> 1945. The farmers succeeded in achieving the<br />
seemingly impossible: protecting the whole family <strong>for</strong> two years <strong>and</strong><br />
saving them from deportation to the death camps without themselves<br />
having to pay with their own lives or being punished in other ways by<br />
the <strong>German</strong> government in those days.<br />
The leads are taken by Veronica Ferres (who appeared in Paul<br />
Schrader’s Adam Resurrected which premiered at the Telluride <strong>and</strong><br />
Toronto film festivals), Armin Rohde (Mr. Woof) <strong>and</strong> child actor<br />
Louisa Mix, with Margarita Broich (Four Windows), Martin<br />
Horn (Buddenbrooks) <strong>and</strong> child actor Lia Hoensbroech playing<br />
the Aschoff family of farmers in front of the camera of the Israeli DoP<br />
Dani Schneor. Other parts are taken by Marlon Kittel (Summer<br />
Storm) <strong>and</strong> Veit Stuebner (The Counterfeiters).<br />
As Mengershausen notes, the actors approached during the casting<br />
<strong>for</strong> the film were immediately enthusiastic about being involved in the<br />
project: Veronica Ferres <strong>and</strong> Armin Rohde both accepted without<br />
hesitation to play the Spiegels. Interestingly, these two roles were cast<br />
with <strong>German</strong> actors of non-Jewish origin, while there are some Jewish<br />
actors cast <strong>for</strong> non-Jewish roles.<br />
The veteran writer-director Imo Moszkowicz had given Mengerhausen<br />
Marga Spiegel’s memoirs to read in 1999 as this had been a<br />
pet project of his to direct. In the meantime, Moszkowicz’s state of<br />
health prevented him from being in the director’s chair himself.<br />
“I was very moved by what I read because it is an extraordinary story<br />
about the persecution of the Jews during the Nazi terror,”<br />
Mengershausen says. “The farmers’ decision to save the Spiegel family<br />
was their reaction to the excesses of the Nazi party to drive the<br />
Jews out of <strong>German</strong>y. It was a unique incident to save a whole Jewish<br />
family <strong>and</strong> it was never found out. The people who saved them did<br />
not have to pay <strong>for</strong> their actions.”<br />
“The farmers had decided in all humility that somebody like Menne<br />
Spiegel, their <strong>for</strong>mer horse dealer, should be saved from this injustice,”<br />
Mengershausen continues. “This human feeling of solidarity<br />
was very rare in those days, like a light in the darkness.”<br />
Shooting of Unter Bauern has been done in the original<br />
Muensterl<strong>and</strong> locations, some of which have hardly changed since the<br />
1940s. “It is as if time has stood still,” the producer says, adding that<br />
the locals in the Muensterl<strong>and</strong> region are proud that this story is now<br />
being told at last <strong>for</strong> the big screen.<br />
The project also has a personal resonance <strong>for</strong> the film’s Dutch-born<br />
director Ludi Boeken who was the producer of another film about<br />
this particular chapter of recent history, Radu Mihaileanu’s awardwinning<br />
film Train of Life in 1998.<br />
“Ludi was really shocked when he received the screenplay <strong>for</strong> Unter<br />
Bauern,” Mengershausen recalls. “His <strong>German</strong> gr<strong>and</strong>mother had<br />
married a Jew in Amsterdam <strong>and</strong> was so outraged during the Second<br />
World War about the <strong>German</strong> occupation of the Netherl<strong>and</strong>s <strong>and</strong><br />
the persecution of the Jews that she helped bring hundreds of Jews<br />
to safety by hiding them in the countryside outside of Amsterdam.<br />
Our film’s story is a <strong>German</strong> variation of what Ludi’s family went<br />
through.”<br />
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MB
9to5 – Days in Porn<br />
“When you are fucking <strong>for</strong> a living, not everyone is going to<br />
underst<strong>and</strong> it – <strong>and</strong> even less are they going to like it.”<br />
9to5 – Days in Porn is a portrait about people who work<br />
in adult entertainment, a business bigger than the music<br />
industry. Filmed over a period of more than a year, ten different<br />
stories unfold, delivering insight into the personal<br />
lives of people in the adult movie business, their hopes<br />
<strong>and</strong> their dreams. However, the dem<strong>and</strong>s of the job can<br />
take a toll; <strong>and</strong> a short time in this world can be the start,<br />
a part or the end of both a career <strong>and</strong> a normal life.<br />
Genre Portrait Category Documentary Cinema Year of<br />
Production <strong>2008</strong> Director Jens Hoffmann Screenplay Jens<br />
Hoffmann Editor Christopher Klotz, Kai Schroeter Original<br />
Score Alex McGowan, Michael Meinl Music by Brant Bjork,<br />
Martina Topley-Bird, The Dwarves, Sweet Machine, <strong>and</strong> others<br />
World Sales<br />
Media Luna Entertainment GmbH & Co. KG · Ida Martins<br />
Aachener Strasse 26 · 50674 Cologne/<strong>German</strong>y<br />
phone +49-2 21-8 01 49 80 · fax +49-2 21-80 14 98 21<br />
email: info@medialuna-entertainment.de · www.medialuna-entertainment.de<br />
Producer Cleonice Comino Production Company F24<br />
Film/Munich With Tom Herold, Belladonna, Sasha Grey, Mia<br />
Rose, Katja Kassin, Roxy Deville, Otto Bauer, Audrey Holl<strong>and</strong>er,<br />
Mark Spiegler, Jim Powers, John Stagliano, Dr. Sharon Mitchell<br />
Length 90 min Format 16 mm, color, 1:1.85 Original<br />
Version English & <strong>German</strong> Subtitled Versions English,<br />
<strong>German</strong> Sound Technology Dolby Digital Festival<br />
Screenings Montreal <strong>2008</strong>, Rio <strong>2008</strong><br />
Jens Hoffmann first started making films in the 1990s, filming<br />
himself <strong>and</strong> friends at mountain sports. After numerous years experience<br />
in television <strong>and</strong> film projects, he founded his own production<br />
company, F24 Film, in 2000 <strong>and</strong> produces <strong>and</strong> directs not only commercials<br />
<strong>and</strong> corporate films, but also feature documentaries including<br />
Fatima’s H<strong>and</strong> 2006), 20 Seconds of Joy (2007), <strong>and</strong><br />
9to5 – Days in Porn (<strong>2008</strong>).<br />
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Scene from “9to5 – Days in Porn” (photo © F24 Film)
88 – pilgern auf japanisch<br />
88 – PILGRIMAGE IN JAPANESE<br />
There’s a nearly unknown Buddhist pilgrimage in Japan: a<br />
circle along 88 temples. It’s strange. It’s older <strong>and</strong> longer<br />
than the Spanish pilgrimage to Santiago de Compostela.<br />
It’s probably the longest of all marked pilgrim-routes of the<br />
world: the hachiju-hakkasho!<br />
It circles the isl<strong>and</strong> of Shikoku. According to the temples,<br />
shrines <strong>and</strong> monks, Shikoku is called the “holy isl<strong>and</strong>”.<br />
Pilgrims have been going here <strong>for</strong> 1,200 years, along a<br />
route of 1,300 km, marked by 88 temples.<br />
Normally only Japanese Buddhists walk the route. Some<br />
of them have done it over 300 times. Only by exception<br />
does a <strong>for</strong>eigner participate here. Like in the spring of<br />
2007: A <strong>German</strong> pilgrim was on the road, on his own,<br />
joined by his camera. He was searching <strong>for</strong> “henro boke”,<br />
the special state of mind of a pilgrim. That’s the aim of this<br />
amusing <strong>and</strong> self-ironic documentary.<br />
World Sales (please contact)<br />
Koll Filmproduktion · Gerald Koll<br />
Sredzkistrasse 44 · 10435 Berlin/<strong>German</strong>y<br />
phone +49-30-41 71 58 16<br />
email: gerald.koll@gmx.de · www.88-pilgrimage-in-japanese.de<br />
Genre Adventure, Religion, Road Movie Category Documentary<br />
Cinema Year of Production <strong>2008</strong> Director Gerald<br />
Koll Screenplay Gerald Koll Director of Photography<br />
Gerald Koll Editor René Perraudin Music by Arpad Bondy<br />
Production Design Gerald Koll Producer Gerald Koll<br />
Production Company Koll Filmproduktion/Kiel Principal<br />
Cast Gerald Koll, Hideo Fujikawa, Hira Yusaku, Kajitani Shigetsugu,<br />
Kosho Omoto, Makoto Sato, Masahiko Monzen, Nobuo Morikawa,<br />
Ogawa Masaki, Osamu Ohno, Shigeo Ishikawa, Taiten Kouyama,<br />
Yuki Kawamura, Yves La Rose Dur<strong>and</strong> Length 88 min Format<br />
Mini DV, color, 16:9 Original Version <strong>German</strong>/Japanese/English<br />
Subtitled Version English Sound Technology Stereo<br />
Festival Screenings Hof <strong>2008</strong> With backing from<br />
Filmfoerderung Hamburg Schleswig-Holstein, Kulturelle Filmfoerderung<br />
Mecklenburg-Vorpommern <strong>German</strong> Distributor<br />
Salzgeber & Co. Medien/Berlin<br />
Gerald Koll was born in Kiel in 1966 <strong>and</strong> studied <strong>German</strong><br />
Literature, completing his PhD on “Erotics in Silent Movies”. Since<br />
1989 he has been a freelance journalist <strong>and</strong> independent filmmaker.<br />
His films include: Among Gauchos (1998), Dangerous<br />
Affections (2000), Weekend on Wannsee (2000), A<br />
Fancy in the Orient (2001), The Silence of Gods –<br />
Portrait of Theo Angelopoulos (2001), Harry Piel –<br />
The Unleashed (2004), Brave Little Bride (2007), <strong>and</strong> 88<br />
– pilgrimage in japanese (<strong>2008</strong>).<br />
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Scene from “88 – pilgrimage in japanese” (photo © Gerald Koll)
Adems Sohn<br />
ADEM’S SON<br />
“You could have had a day out a long time ago. Now, just<br />
be<strong>for</strong>e your release, you take advantage of this opportunity.<br />
Why?” asks the prison director. Ali’s answer is short<br />
<strong>and</strong> decisive: “To talk.”<br />
Ali, who has been sitting in a juvenile detention center <strong>for</strong><br />
six years, finished his training course as a chef with accolades.<br />
But he never spoke about his past. Today, on the<br />
very day of his brother Ibo’s wedding, he wants to visit his<br />
family <strong>and</strong> talk.<br />
Like a silent bomb, Ali bursts into the traditional wedding<br />
preparations <strong>and</strong> opens up old wounds in a matter of<br />
seconds. He is looking <strong>for</strong> common ground, but finds out<br />
that it is impossible now. When he meets his father in a<br />
small side room, he notices that there is nothing left to discuss.<br />
His actions have cut him off from his family – with no<br />
chance of return.<br />
World Sales (please contact)<br />
Deutsche Film- & Fernsehakademie Berlin GmbH (dffb) · Jana Wolff<br />
Potsdamer Strasse 2 · 10785 Berlin/<strong>German</strong>y<br />
phone +49-30-25 75 91 52 · fax +49-30-25 75 91 62<br />
email: wolff@dffb.de · www.dffb.de<br />
Genre Drama, Family, Melodrama Category Short Year of<br />
Production <strong>2008</strong> Director Hakan Savas Mican Screenplay<br />
Hakan Savas Mican, Max Honert Director of Photography<br />
Sebastian Lempe Editors Hakan Savas Mican, Sebastian Lempe<br />
Music by Devil Inside, Daria Marschinina Production Design<br />
Petra Schlie Producers Hartmut Bitomsky, Christin Geigemueller<br />
Production Company Deutsche Film- & Fernsehakademie<br />
Berlin (dffb), in co-production with RBB/Potsdam-Babelsberg<br />
Principal Cast Tamer Yigit, Murat Seven, Erden Alkan, Sema<br />
Poyraz, Nilam Farooq, Lars Pape, Burak Yigit, Katja Sieder, Vedat<br />
Kaygan Casting Greta Amend Length 30 min Format 16 mm<br />
Blow-up 35 mm, color, cs Original Version <strong>German</strong>/Turkish<br />
Subtitled Version English Sound Technology Dolby SR<br />
Festival Screenings Film Festival Turkey-<strong>German</strong>y Nuremberg<br />
<strong>2008</strong> <strong>German</strong> Distributor Deutsche Film- & Fernsehakademie<br />
Berlin (dffb)<br />
Hakan Savas Mican was born in 1978 in Berlin <strong>and</strong> grew up in<br />
Turkey. In 1997 he returned to Berlin to study Architecture <strong>and</strong><br />
began shooting his first films. Also active as a journalist <strong>for</strong> radio<br />
broadcasters, he has been a student at the <strong>German</strong> Academy of<br />
Television & Film (dffb) since 2004. His films include: Mother’s<br />
Mark (Muttermal, 2006), Foreign (Fremd, 2007), <strong>and</strong><br />
Adem’s Son (Adems Sohn, <strong>2008</strong>).<br />
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Scene from “Adem’s Son” (photo © dffb/Thomas Vesper)
Anonyma — Eine Frau in Berlin<br />
A WOMAN IN BERLIN<br />
April 1945. The Red Army is invading Berlin. Women fall<br />
victim to rape in a half-destroyed house. One of them is<br />
Anonyma, who had been a journalist <strong>and</strong> photographer.<br />
In her desperation she decides to look <strong>for</strong> an officer who<br />
can protect her. What happens is what she had least been<br />
prepared <strong>for</strong>. A relationship develops with the Russian<br />
officer Andrej that would feel like love were it not <strong>for</strong> the<br />
barrier that keeps them enemies till the end.<br />
Genre Drama Category Feature Film Cinema Year of<br />
Production <strong>2008</strong> Director Max Faerberboeck Screenplay<br />
Max Faerberboeck Director of Photography Benedict<br />
Neuenfels Editor Ewa J. Lind Music by Zbigniew Preisner<br />
Production Design Uli Hanisch Producer Guenter Rohrbach<br />
Production Company Constantin Film Produktion/Munich, in<br />
co-production with Tempus Film/Lodz, in cooperation with<br />
ZDF/Mainz Principal Cast Nina Hoss, Evgeny Sidikhin, Irm<br />
Herrmann, Ruediger Vogler, Ulrike Krumbiegel, Rolf Kanies, Joerdis<br />
Triebel, Roman Gribkow, Juliane Koehler Casting Simone Baer<br />
World Sales<br />
Beta Cinema / Dept. of Beta Film GmbH · Andreas Rothbauer<br />
Gruenwalder Weg 28 d · 82041 Oberhaching/<strong>German</strong>y<br />
phone +49-89-67 34 69 80 · fax +49-89-6 73 46 98 88<br />
email: ARothbauer@betacinema.com · www.betacinema.com<br />
Length 131 min, 3,591 m Format 35 mm, color, cs Original<br />
Version <strong>German</strong> Subtitled Version English Sound<br />
Technology Dolby Digital Festival Screenings Toronto <strong>2008</strong><br />
With backing from <strong>Films</strong>tiftung NRW, Medienboard Berlin-<br />
Br<strong>and</strong>enburg, Filmfoerderungsanstalt (FFA), <strong>German</strong> Federal Film<br />
Fund (DFFF) <strong>German</strong> Distributor Constantin Film Verleih/Munich<br />
Max Faerberboeck produced plays at theaters in Hamburg,<br />
Heidelberg, <strong>and</strong> Cologne be<strong>for</strong>e writing <strong>and</strong> directing several episodes<br />
of the TV series Der Fahnder. He then wrote <strong>and</strong> directed<br />
four award-winning TV films (Schlafende Hunde, Einer zahlt<br />
immer, Bella Block – Die Kommissarin, <strong>and</strong> Bella Block<br />
– Liebestod) be<strong>for</strong>e making his feature film debut with Aimée<br />
& Jaguar, which was nominated <strong>for</strong> the Golden Globe Award<br />
2000. His other films include: Jenseits (2002), September<br />
(2003), <strong>and</strong> A Woman in Berlin (Anonyma – Eine Frau<br />
in Berlin, <strong>2008</strong>)<br />
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Scene from “A Woman in Berlin” (photo © Constantin Film Verleih GmbH)
Der Baader Meinhof Komplex<br />
THE BAADER MEINHOF COMPLEX<br />
<strong>German</strong>y in the 1970s: Murderous bomb attacks, the<br />
threat of terrorism <strong>and</strong> the fear of the enemy inside are<br />
rocking the very foundations of the yet fragile <strong>German</strong><br />
democracy. The radicalized children of the Nazi generation<br />
led by Andreas Baader, Ulrike Meinhof <strong>and</strong> Gudrun<br />
Ensslin are fighting a violent war against what they perceive<br />
as the new face of fascism: American imperialism<br />
supported by the <strong>German</strong> establishment, many of whom<br />
have a Nazi past. Their aim is to create a more human<br />
society, but by employing inhuman means they not only<br />
spread terror <strong>and</strong> bloodshed, they also lose their own<br />
humanity. The man who underst<strong>and</strong>s them is also their<br />
hunter: the head of the <strong>German</strong> police <strong>for</strong>ce Horst Herold.<br />
And while he succeeds in his relentless pursuit of the<br />
young terrorists, he knows he’s only dealing with the tip of<br />
the iceberg.<br />
Genre Drama Category Feature Film Cinema Year of<br />
Production <strong>2008</strong> Director Uli Edel Screenplay Bernd<br />
Eichinger, based on the book by <strong>and</strong> in consultation with Stefan<br />
Aust, in cooperation with Uli Edel Director of Photography<br />
Rainer Klausmann Editor Alex<strong>and</strong>er Berner Music by Peter<br />
Hinderthuer, Florian Tessloff Production Design Bernd Lepel<br />
Producer Bernd Eichinger Production Company Constantin<br />
Film Produktion/Munich, in co-production with Les Nouvelles<br />
World Sales<br />
Summit Entertainment Group<br />
1601 Cloverfield Boulevard, Suite 200, South Tower<br />
Santa Monica, Cali<strong>for</strong>nia 90404/USA<br />
www.summit-ent.com<br />
Editions de <strong>Films</strong>/Paris, G.T. Film Production/Prague,<br />
NDR/Hamburg, BR/Munich, WDR/Cologne, Degeto Film/<br />
Frankfurt Principal Cast Martina Gedeck, Moritz Bleibtreu,<br />
Johanna Wokalek, Nadja Uhl, Heino Ferch, Bruno Ganz, <strong>and</strong> others<br />
Length 149 min, 4,090 m Format 35 mm, color, 1:1.85<br />
Original Version <strong>German</strong> Subtitled Version English Sound<br />
Technology Dolby Digital Festival Screenings Zurich <strong>2008</strong>,<br />
Rome <strong>2008</strong>, London <strong>2008</strong> With backing from FilmFernsehFonds<br />
Bayern, Bayerischer Bankenfonds, Filmfoerderungsanstalt<br />
(FFA), Medienboard Berlin-Br<strong>and</strong>enburg, <strong>German</strong> Federal Film Fund<br />
(DFFF) <strong>German</strong> Distributor Constantin Film Verleih/Munich<br />
Uli Edel was born in 1947. He studied <strong>German</strong> Language Studies<br />
<strong>and</strong> Theater Sciences be<strong>for</strong>e enrolling at the Munich University of<br />
Television & Film, where he first met Bernd Eichinger, whom he<br />
worked with on numerous films. A selection of his award-winning<br />
films include: Christiane F – Wir Kinder vom Bahnhof<br />
Zoo (1981), Letzte Ausfahrt Brooklyn (1989), an episode<br />
of the series Twin Peaks (1990) <strong>and</strong> numerous other US event<br />
movies <strong>and</strong> mini-series, Body of Evidence (1993), Der kleine<br />
Vampir (2000), Die Nebel von Avalon, (TV, 2001), King of<br />
Texas (2002), Julius Caesar (TV, 2003), Die Nibelungen<br />
(TV, 2004), <strong>and</strong> The Baader Meinhof Complex (<strong>2008</strong>),<br />
among others.<br />
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Scene from “The Baader Meinhof Complex” (photo © Constantin Film Verleih <strong>2008</strong>)
Die Bienen – Toedliche Bedrohung<br />
KILLERBEES<br />
Killerbees involves a race against time as young doctor<br />
Karla searches <strong>for</strong> the serum to save her desperately ill father<br />
who has been stung by one of the little buzzers.<br />
Aided by the charming biologist Ben, they stumble upon<br />
the origins of the deadly creatures, the work of entomologist<br />
Dr. Alvarez, who now uses all means possible to stop<br />
them from revealing what he’s done. To make matters<br />
worse, Karla <strong>and</strong> Ben are also now wanted by the police,<br />
who are about to take some drastic <strong>and</strong> potentially catastrophic<br />
action of their own …<br />
Genre Adventure, Ecology, Thriller Category TV Movie Year<br />
of Production <strong>2008</strong> Director Michael Karen Screenplay<br />
Nicole & Uli Bujard, Annette Simon Director of Photography<br />
Jochen Staeblein Editor Stefan Essl Music by Siggi Mueller<br />
Production Design Ina Kirchhoff Producers Martin Kircher,<br />
Hendrik Feil Production Company Wasabi Film/Munich, in coproduction<br />
with SAT.1/Berlin Principal Cast Janin Reinhardt,<br />
Stephan Luca, Sonja Kirchberger, Klaus J. Behrendt, Rolf Kanies,<br />
Patrick von Blume, Paula Schramm Length 92 min Format Super<br />
16 mm, color, 1:1.85 Original Version <strong>German</strong> With<br />
backing from FilmFernsehFonds Bayern <strong>German</strong> Distributor<br />
SevenOne International/Unterfoehring<br />
World Sales<br />
SevenOne International GmbH<br />
Medienallee 7 · 85774 Unterfoehring/<strong>German</strong>y<br />
phone +49-89-95 07 23 20 · fax +49-89-95 07 23 21<br />
email: info@sevenoneinternational.com · www.sevenoneinternational.com<br />
Michael Karen began his career as an actor <strong>and</strong> radio reporter<br />
be<strong>for</strong>e making his first short Die Loosers in 1986. He followed<br />
this with various jobs on documentaries, a six-month stay in Los<br />
Angeles, <strong>and</strong> directing <strong>for</strong> television in the late 1980s <strong>and</strong> early<br />
1990s. He attended the Frank Daniel script workshop <strong>and</strong> Robert<br />
McKee’s story structure seminar <strong>and</strong> directed the musical The Little<br />
Shop of Horrors in Duesseldorf in 1995. Apart from writing many<br />
scripts <strong>for</strong> film <strong>and</strong> television, a selection of his directing credits<br />
include: Im Namen des Gesetzes (TV, 1994), So ist das<br />
Leben – Die Wagenfelds (TV, 1995), Parkhotel Stern<br />
(TV, 1996), Die Diebin (TV, 1997), Verfuehrt – Eine gefaehrliche<br />
Affaere (TV, 1998), Alarm fuer Cobra 11 – Die<br />
Autobahnpolizei (TV, 1999), Flashback (1999), SOS – The<br />
Bunnyguards on Board (Erkan & Stefan – Der Tod<br />
kommt krass, 2005), Arme Millionaer (TV, 2006),<br />
Summerhill (2007), Pro7 Funny Movies – Halloween<br />
Horror Hostel (2007), <strong>and</strong> Killerbees (Die Bienen –<br />
Toedliche Bedrohung, <strong>2008</strong>).<br />
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Scene from “Killerbees” (photo © Sat.1/Wasabi Film/Trixter)
Buddenbrooks<br />
BUDDENBROOKS – THE DECLINE OF A FAMILY<br />
Buddenbrooks – The Decline of a Family is the gripping<br />
cinematic adaptation of Thomas Mann’s Nobel Prizewinning<br />
novel of 1900, starring Academy Award ® -<br />
nominee Armin Mueller-Stahl in the lead role. In loving,<br />
compassionate detail <strong>and</strong> cinematic scope, Emmy ® Awardwinner<br />
Heinrich Breloer portrays the rise <strong>and</strong> decline of a<br />
merchant family in the bourgeois aristocracy in Luebeck in<br />
their fight <strong>and</strong> sacrifice <strong>for</strong> the economic survival of the<br />
family <strong>and</strong> their pursuit of happiness <strong>and</strong> impossible love.<br />
While Thomas is willing to fill the void of their father,<br />
Consul Jean, <strong>and</strong> to steer the firm through the times of<br />
modernization <strong>and</strong> rising competition, his brother<br />
Christian is trying to break away from any responsibility.<br />
We find him in dubious company, marrying a woman<br />
from a vaudeville show, rebelling against everything their<br />
father stood <strong>for</strong>. It is left to their sister, Tony, who sacrifices<br />
her true love <strong>for</strong> the sake of the family’s <strong>for</strong>tune, to hold<br />
the family ties together. But when their competitor<br />
Hagenstroem proves to have the better instinct <strong>for</strong> the<br />
changing needs of the market, even her influence seems<br />
to vanish …<br />
World Sales<br />
Bavaria Film International / Dept. of Bavaria Media GmbH · Thorsten Ritter<br />
Bavariafilmplatz 7 · 82031 Geiselgasteig/<strong>German</strong>y<br />
phone +49-89-64 99 26 86 · fax +49-89-64 99 37 20<br />
email: international@bavaria-film.de · www.bavaria-film-international.com<br />
Genre Drama, Literature Category Feature Film Cinema Year<br />
of Production <strong>2008</strong> Director Heinrich Breloer Screenplay<br />
Heinrich Breloer, Horst Koenigstein, based on the novel by Thomas<br />
Mann Director of Photography Gernot Roll Editor Barbara<br />
von Weitershausen Music by Hans P. Stroeer Production<br />
Design Goetz Weidner Producers Matthias Esche, Michael<br />
Hild, Jan S. Kaiser, Uschi Reich, Winka Wulff Co-Producer<br />
Burkhard von Schenk Production Company Bavaria Film/<br />
Munich, in co-production with Pirol Film Production/Munich,<br />
Colonia Media/Cologne, WDR/Cologne, NDR/Hamburg, SWR/<br />
Baden-Baden, BR/Munich, Degeto Film/Frankfurt, ORF/Vienna,<br />
ARTE/Strasbourg Principal Cast Armin Mueller-Stahl, Jessica<br />
Schwarz, August Diehl, Mark Waschke, Iris Berben, Léa Bosco,<br />
Fedja van Huêt, Raban Bieling, Justus von Dohnányi Casting An<br />
Dorthe Braker Length 150 min Format 35 mm, color, cs<br />
Original Version <strong>German</strong> Subtitled Version English Sound<br />
Technology Dolby Digital With backing from <strong>Films</strong>tiftung<br />
NRW, <strong>German</strong> Federal Film Fund (DFFF), Filmfoerderung Hamburg<br />
Schleswig-Holstein, FilmFernsehFonds Bayern, Filmfoerderungsanstalt<br />
(FFA), MEDIA <strong>German</strong> Distributor Warner Bros.<br />
Pictures <strong>German</strong>y/Hamburg<br />
Heinrich Breloer was born in 1942 in Gelsenkirchen. Active as<br />
a writer <strong>and</strong> director, a selection of his films includes: Das Beil<br />
von W<strong>and</strong>sbek (TV, 1982), Kampfname: Willy Br<strong>and</strong><br />
(TV, 1984), Todesspiel (TV, 1997), the Emmy ® award-winning<br />
Die Manns – Ein Jahrhundertroman (2001), Speer <strong>and</strong><br />
Hitler (2005), <strong>and</strong> Buddenbrooks (<strong>2008</strong>).<br />
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Scene from “Buddenbrooks” (photo © Bavaria Film/Stefan Falke)
Dem kuehlen Morgen entgegen<br />
INTO THE COLD DAWN<br />
Into the Cold Dawn recounts the life of the composer<br />
Dimitri Shostakovich from the perspective of a film director<br />
who is shooting a movie about him. In 1961 the song<br />
Into the Cold Dawn, composed by Shostakovich <strong>for</strong> the film<br />
Der Gegenplan <strong>and</strong> sung by Yuri Gagarin, was the first<br />
music in space.<br />
While editing the film, the director shifts through scenes<br />
from feature films <strong>for</strong> which Shostakovich wrote the music<br />
during Stalin’s rule. The director meets <strong>and</strong> interviews<br />
family members <strong>and</strong> companions of the composer, such as<br />
Mstislav Rostropovich. Key moments in the life of<br />
Shostakovich are re-enacted with marionette puppets.<br />
At the end of his investigation, the director realizes that he<br />
is unable to draw a clear-cut portrait of the composer –<br />
what his interview partners tell him is just too contradictory.<br />
Genre Art, Music Category Documentary Cinema Year of<br />
Production <strong>2008</strong> Directors Oliver Becker, Katharina Bruner<br />
Screenplay Oliver Becker, Katharina Bruner, Dietrich Mack<br />
Director of Photography Joerg Jeshel Editor Bernd Euscher<br />
Original Music by Dimitri Shostakovich Production<br />
Design Katharina Bruner Producer Manfred Frei Production<br />
Company LOFT music/Gauting, in co-production with ZDF/<br />
Mainz, 3sat/Mainz Principal Cast Armin Mueller-Stahl<br />
World Sales (please contact)<br />
LOFT music GmbH · Manfred Frei<br />
Wessobrunner Strasse 4 · 82131 Gauting/<strong>German</strong>y<br />
phone +49-89-89 34 08 94 · fax +49-89-89 34 08 60<br />
email: LOFTmusic@t-online.de · www.loft-music.com<br />
Special Effects Georg Jenisch Format HD Cam Blow-up 35<br />
mm, color, 1:1.66 Original Version <strong>German</strong> Subtitled<br />
Version English Sound Technology Dolby Digital With<br />
backing from MFG Baden-Wuerttemberg<br />
Oliver Becker was born in 1967 <strong>and</strong> started making short films<br />
at the age of 14. In 1995, he made his first television documentary,<br />
followed by numerous other classical music documentaries <strong>and</strong><br />
international concert recordings. A selection of his films includes:<br />
Dem Licht entgegen – Alex<strong>and</strong>er Skrjabin: Kalkuel<br />
und Ekstase (1996), Portrait Peter Michael Hamel<br />
(1997), Verschlossene Heimat – Prokofjiews Sowjetisches<br />
Tagebuch 1927 (1998), Protest der Stille – der<br />
9. Oktober 1989 in Leipzig (1999), Die Jagd nach dem<br />
Blech – ein musikalischer Spass mit <strong>German</strong> Brass<br />
(2000), Longing <strong>for</strong> <strong>German</strong>y – The Conductor<br />
Wilhelm Furtwaengler (Wilhelm Furtwaengler –<br />
Sehnsucht nach Deutschl<strong>and</strong>, 2003), Enlightened Love<br />
– Laughing Death (Wagner: The Staging of a Family<br />
Drama) (Leuchtende Liebe – Lachender Tod: Das<br />
Familientheater der Wagners, 2004), Kent Nagano –<br />
Seeking New Shores (2006), Klangfarbe Zukunft – Das<br />
Deutsche Symphonie-Orchester (2007), <strong>and</strong> Into the<br />
Cold Dawn (Dem kuehlen Morgen entgegen, <strong>2008</strong>), in<br />
co-direction with Katharina Bruner.<br />
Katharina Bruner was born in 1975 in Uzbekistan <strong>and</strong> has been<br />
living <strong>and</strong> working in <strong>German</strong>y since 1988. She studied Art History,<br />
Theater <strong>and</strong> Film in Paris <strong>and</strong> Duesseldorf. Also active in the areas<br />
of stage <strong>and</strong> costume design, she has directed numerous short films<br />
<strong>and</strong> has been working with Oliver Becker since 2005.<br />
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Scenes from “Into the Cold Dawn” (photos © Oliver Becker)
Finnischer Tango<br />
FINNISH TANGO<br />
Finnish Tango tells the story of a man, who – on his quest<br />
of finding the easy way out – discovers his own humanity.<br />
Alex is a passionate but unsuccessful musician. Nothing<br />
more, nothing less. He is neither the nice guy, nor a good<br />
friend, not even a reliable partner, <strong>and</strong> definitely no one<br />
who takes responsibility in life. After a tragic accident,<br />
Alex suddenly finds himself without a b<strong>and</strong> <strong>and</strong> without a<br />
plan, but with a mountain of debt <strong>and</strong> raging metal players<br />
breathing down his neck.<br />
While searching <strong>for</strong> a job, he comes across a theater group<br />
of h<strong>and</strong>icapped people, who are searching <strong>for</strong> another<br />
actor <strong>for</strong> an upcoming play. Alex invents a h<strong>and</strong>icap,<br />
steals a h<strong>and</strong>icap ID, gets the part <strong>and</strong> moves in with the<br />
group, who open their arms, hearts <strong>and</strong> minds to him. He<br />
wins them over, most of them at least, with his music –<br />
heartbreaking tango melodies. But Rudolph, a highly intelligent,<br />
suicidal <strong>and</strong> fatally ill misanthropist, doesn’t really<br />
trust him <strong>and</strong> puts Alex to the test.<br />
Genre Tragicomedy Category Feature Film Cinema Year of<br />
Production <strong>2008</strong> Director Buket Alakus Screenplay Marcus<br />
Hertneck, Jan Berger Director of Photography Daniela<br />
Knapp Editor Andreas Radtke Music by Christoph Blaser,<br />
World Sales<br />
Media Luna Entertainment GmbH & Co. KG · Ida Martins<br />
Aachener Strasse 26 · 50674 Cologne/<strong>German</strong>y<br />
phone +49-2 21-8 01 49 80 · fax +49-2 21-80 14 98 21<br />
email: info@medialuna-entertainment.de · www.medialuna-entertainment.de<br />
Steffen Kahles Production Design Ralf Mootz, Sabine Rudolph<br />
Producer Eike Besuden Production Company Geisberg<br />
Studios/Bremen, in co-production with Pinguin Film/Wolfsburg,<br />
NDR/Hamburg, Radio Bremen Principal Cast Christoph Bach,<br />
Mira Bartuschek, Fabian Busch, Nele Winkler, Michael Schumacher,<br />
Christian Naethe, Daniel Zillmann Casting Mai Seck Length 90<br />
min, 2,511 m Format Super 16 mm Blow-up 35 mm, color,<br />
1:1.85 Original Version <strong>German</strong> Subtitled Version English<br />
Sound Technology Dolby Surround Festival Screenings<br />
Emden <strong>2008</strong> (In Competition/Opening Film), Festival des<br />
Deutschen <strong>Films</strong> Ludwigsburg <strong>2008</strong> (In Competition) Awards<br />
Audience Award Ludwigsburg <strong>2008</strong> With backing from<br />
Nordmedia, <strong>Films</strong>tiftung NRW, <strong>German</strong> Federal Film Fund (DFFF)<br />
<strong>German</strong> Distributor Neue Visionen Filmverleih/Berlin<br />
Buket Alakus was born in 1971 in Istanbul <strong>and</strong> grew up in<br />
Hamburg. After finishing her studies at the Academy of Fine Arts in<br />
Berlin in 1995, she studied Film Directing at Hamburg University’s<br />
Institute of Theater, Music <strong>and</strong> Film from 1996-1998. Her films<br />
include: the shorts Martin (1995), Schluessel (1996), Tango<br />
(1997), Kismet (1998), her award-winning feature debut Anam<br />
(2000), Offside (Eine <strong>and</strong>ere Liga, 2004), Freundinnen<br />
fuers Leben (TV, 2005), the children’s series Kinder.de (2006),<br />
<strong>and</strong> Finnish Tango (Finnischer Tango, <strong>2008</strong>).<br />
german films quarterly new german films<br />
4 · <strong>2008</strong> 40<br />
Scene from “Finnish Tango” (photo © Geisberg Studios)
Freche Maedchen<br />
CHEEKY GIRLS<br />
Mila, Hanna, <strong>and</strong> Kati are best friends – always there <strong>for</strong><br />
each other, be it stress at school or boy trouble. And they<br />
have plenty of that: A gifted singer, Hanna wants to participate<br />
in a casting show, which leads to an argument with<br />
her boyfriend Branko; Kati develops a huge crush on<br />
Brian, the coolest boy at school. When he turns a poem<br />
written by Mila into his b<strong>and</strong>’s new song, Kati becomes<br />
jealous. Mila though thinks Markus is kind of cute, but<br />
nothing else. She is actually relieved that her first relationship<br />
is taking its sweet time because, as she puts it, she has<br />
no time <strong>for</strong> boys right now. But then she falls head over<br />
heels <strong>for</strong> Pit Winter, a young trainee teacher, who of all<br />
people happens to be the new boyfriend of her mom, a<br />
charming, but chaotic hairdresser … Talk about stress!<br />
Cheeky Girls is based on <strong>German</strong>y’s most popular book<br />
series <strong>for</strong> girls, Cheeky Girls – Cheeky Books, which has<br />
been published in 22 languages <strong>and</strong> sold over 7 million<br />
copies total.<br />
Genre Youth, Comedy Category Feature Film Cinema Year of<br />
Production <strong>2008</strong> Director Ute Wiel<strong>and</strong> Screenplay Maggie<br />
Peren, based on the series of novels Cheeky Girls – Cheeky Books by<br />
Bianka Minte-Koenig Director of Photography Peter<br />
Przybylski Editor Dunja Campregher Music by Oli Biehler<br />
World Sales<br />
Atlas International Film GmbH · Philipp Menz, Susanne Groh, Dieter Menz<br />
C<strong>and</strong>idplatz 11 · 81543 Munich/<strong>German</strong>y<br />
phone +49-89-2 10 97 50 · fax +49-89-21 09 75 81<br />
email: mail@atlasfilm.com · www.atlasfilm.com<br />
Production Design Frank Polosek, Elena Wegner Producer<br />
Ulrich Limmer Production Company collina Filmproduktion/<br />
Munich, in co-production with Constantin Film Produktion/Munich,<br />
B.A. Produktion/Munich Principal Cast Emilia Schuele, Selina<br />
Shirin Mueller, Henriette Nagel, Anke Engelke, Armin Rohde, David<br />
Rott Casting Stefany Pohlmann, Nicole Fischer Special Effects<br />
Juergen Schopper Length 97 min, 2,650 m Format 35 mm,<br />
color, cs Original Version <strong>German</strong> Subtitled Version<br />
English Sound Technology Dolby SRD With backing from<br />
<strong>German</strong> Federal Film Fund (DFFF), <strong>Films</strong>tiftung NRW, Filmfoerderungsanstalt<br />
(FFA), FilmFernsehFonds Bayern <strong>German</strong><br />
Distributor Constantin Film Verleih/Munich<br />
Ute Wiel<strong>and</strong> was born in Grossbottwar near Stuttgart. She initially<br />
studied <strong>German</strong> Language Studies <strong>and</strong> Theater Sciences be<strong>for</strong>e<br />
enrolling at the Munich University of Television & Film. Her awardwinning<br />
films include: Im Jahr der Schildkroete (1988),<br />
Polizeiruf 110 – Hetzjagd (TV, 1997), Wie angelt man<br />
sich seinen Chef? (TV, 1999), Morgen gehoert der<br />
Himmel mir (TV, 1999), Dich schickt der Himmel (TV,<br />
2000), Die Mutter meines Mannes (TV, 2001), Eiskalte<br />
Freunde (TV, 2002), Italiener und <strong>and</strong>ere Suessigkeiten<br />
(TV, 2003), Miss Texas (TV, 2004), FC Venus – Women<br />
with Balls (2006), Fettkiller (TV, 2007), <strong>and</strong> Cheeky Girls<br />
(Freche Maedchen, <strong>2008</strong>).<br />
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Scene from “Cheeky Girls” (photo © Constantin Film <strong>2008</strong>)
Geliebte Clara<br />
CLARA<br />
In 1850, Robert, his wife Clara <strong>and</strong> their five children settle<br />
down in Duesseldorf where he has accepted a position<br />
as musical director. For the resourceful musician, considered<br />
more as one of the world’s greatest composers than a<br />
conductor, it turns out to be a bad decision. Nor is it a<br />
happy period <strong>for</strong> Clara, who is reduced to the role of<br />
housewife instead of acclaimed concert pianist per<strong>for</strong>ming<br />
throughout Europe to sold-out halls. That is, until she<br />
meets the young, brilliant Johannes Brahms. Clara <strong>and</strong><br />
Johannes fall <strong>for</strong> one another. Robert, who is sick <strong>and</strong><br />
suffering from severe depression, attempts to drown himself<br />
in the Rhine River. His life is saved <strong>and</strong> he commits<br />
himself to a sanatorium. The relationship between Brahms<br />
<strong>and</strong> Clara grows even more intense. When Robert dies<br />
two years later, all the obstacles seem to have disappeared<br />
<strong>for</strong> them. Clara, however, refuses to marry again. Robert’s<br />
shadow still weighs too heavy on her. But she will go on<br />
playing his <strong>and</strong> Johannes’ music in the world’s concert<br />
halls, expressing her feelings <strong>for</strong> him <strong>and</strong> <strong>for</strong> the moments<br />
of darkness they both experienced with Robert.<br />
Genre Biopic, Drama Category Feature Film Cinema Year of<br />
Production <strong>2008</strong> Director Helma S<strong>and</strong>ers-Brahms<br />
Screenplay Helma S<strong>and</strong>ers-Brahms Director of Photography<br />
Juergen Juerges Editor Isabelle Devinck Original Music<br />
by Robert Schumann, Clara Schumann, Johannes Brahms<br />
Production Design Uwe Szielasko Producers Alfred<br />
World Sales<br />
ARRI Media Worldsales · Antonio Exacoustos<br />
Tuerkenstrasse 89 · 80799 Munich/<strong>German</strong>y<br />
phone +49-89-38 09 12 88 · fax +49-89-38 09 16 19<br />
email: aexacoustos@arri.de · www.arri-mediaworldsales.de<br />
Huermer, Helma S<strong>and</strong>ers-Brahms Production Companies<br />
Integral Film/Berg, Helma S<strong>and</strong>ers-Brahms Filmproduktion/Berlin,<br />
in co-production with Mact Productions/Paris, Objektiv Film<br />
Studio/Budapest, B.A. Produktion/Munich Principal Cast<br />
Martina Gedeck, Pascal Greggory, Malik Zidi Length 110 min,<br />
3,173 m Format 35 mm, color, 1:1.85 Original Version<br />
<strong>German</strong> Subtitled Version English Sound Technology<br />
Dolby SRD With backing from <strong>Films</strong>tiftung NRW, <strong>German</strong><br />
Federal Film Fund (DFFF), Eurimages, Filmfoerderungsanstalt (FFA),<br />
Medienboard Berlin-Br<strong>and</strong>enburg, BKM, Kulturstiftung der Deutschen<br />
Bank, CNC, Motion Picture Public Foundation of Hungary,<br />
Hungarian Ministry of Education <strong>and</strong> Culture <strong>German</strong> Distributor<br />
Kinowelt Filmverleih/Leipzig<br />
Helma S<strong>and</strong>ers-Brahms was born in Emden in 1940. She<br />
attended the drama school <strong>for</strong> music <strong>and</strong> theater in Hanover, <strong>and</strong><br />
studied <strong>German</strong> <strong>and</strong> English Languages in Cologne. She worked as a<br />
television announcer <strong>for</strong> WDR <strong>and</strong> from 1976-1969 became a guest<br />
student with both Pier Paolo Pasolini <strong>and</strong> Sergio Corbucci. In 1970,<br />
she founded her own production company. Under the Pavement<br />
Lies the Beach became her breakthrough in 1975.<br />
Heinrich (1976), her film on the life <strong>and</strong> death of the <strong>German</strong><br />
poet Heinrich von Kleist, was awarded the <strong>German</strong> Film Award in<br />
1977. Her film <strong>German</strong>y, Pale Mother (1980) remains an<br />
international success today <strong>and</strong> is one of the classics of <strong>German</strong><br />
cinema. Her other films include: Shirin’s Wedding (1975), No<br />
Mercy No Future (1981), The Future of Emily (1984),<br />
Laputa (1986), Manouevres (1989), Apple Trees (1991),<br />
My Heart is Mine Alone (1997), Colour of Soul (2003),<br />
<strong>and</strong> Clara (<strong>2008</strong>).<br />
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Scene from “Clara” (photo © Integral Film)
Hinter Kaifeck<br />
KAIFECK MURDER<br />
A job brings the photographer Marc <strong>and</strong> his son Tyll to the<br />
remote <strong>and</strong> mysterious village of Kaifeck in Bavaria. Marc<br />
is strangely fascinated by a tale of gruesome murders on a<br />
nearby farm in 1922, <strong>and</strong>, suddenly, inexplicable things<br />
start happening to him at night. He feels a weird connection<br />
to the events from back then <strong>and</strong> is drawn ever<br />
deeper into the dark past. So deep that it is not only his<br />
own life that is in danger, but also that of his son.<br />
One of <strong>German</strong>y’s most intriguing unsolved murder<br />
mysteries has provided inspiration <strong>for</strong> this atmospheric<br />
mystery thriller, starring Benno Fuermann (Merry<br />
Christmas) <strong>and</strong> Alex<strong>and</strong>ra Maria Lara (Control, Youth<br />
Without Youth) in the lead roles. Director Esther<br />
Gronenborn (alaska.de) weaves an absorbing tale of guilt<br />
<strong>and</strong> superstition based on the real case, where six people<br />
found a grim death in a village called Kaifeck in the <strong>for</strong>ests<br />
near Munich in 1922.<br />
Genre Thriller Category Feature Film Cinema Year of Production<br />
<strong>2008</strong> Director Esther Gronenborn Screenplay<br />
Christian Limmer, Soenke Lars Neuwoehner Director of<br />
Photography Chris Valentien Editors Moune Barius, Dirk Grau<br />
Music by Alex<strong>and</strong>er Hacke Production Design Tom Hornig<br />
World Sales<br />
Bavaria Film International / Dept. of Bavaria Media GmbH · Thorsten Ritter<br />
Bavariafilmplatz 7 · 82031 Geiselgasteig/<strong>German</strong>y<br />
phone +49-89-64 99 26 86 · fax +49-89-64 99 37 20<br />
email: international@bavaria-film.de · www.bavaria-film-international.com<br />
Producers Monika Raebel, Stefan Gaertner, Christian Balz, Boris<br />
Schoenfelder, Nikolaus Lohmann, Tilo Seiffert Production<br />
Company 24 Frames Film/Gruenwald, in co-production with<br />
SevenPictures/Munich, Neue Kinowelt Filmproduktion/Berlin,<br />
Cinemendo/Munich Principal Cast Benno Fuermann, Alex<strong>and</strong>ra<br />
Maria Lara, Michael Gwisdek, Erni Mangold, Henry Stange Casting<br />
Hanna Hansen Length 86 min Format 35 mm, color, cs<br />
Original Version <strong>German</strong> Subtitled Version English Sound<br />
Technology Dolby Digital With backing from<br />
FilmFernsehFonds Bayern, Mitteldeutsche Medienfoerderung,<br />
Medienboard Berlin-Br<strong>and</strong>enburg, <strong>German</strong> Federal Film Fund<br />
(DFFF), Filmfoerderungsanstalt (FFA) <strong>German</strong> Distributor<br />
Kinowelt Home Entertainment/Leipzig<br />
Esther Gronenborn studied at the University of Television &<br />
Film in Munich, specializing in documentaries <strong>and</strong> shorts. Her films<br />
include: I Wonder in Pornol<strong>and</strong> (short, 1990), The Road to<br />
Happiness (Die Strasse zum Glueck, 1995), Sie<br />
schaemen sich ihrer Traenen nicht, Morgengrauen<br />
(1992), alaska.de (2000) winner of the <strong>German</strong> Film Award,<br />
Adil geht (2005), Berlin Stories (Stadt als Beute, 2005),<br />
<strong>and</strong> Kaifeck Murder (Hinter Kaifeck, <strong>2008</strong>), as well as<br />
numerous music videos.<br />
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Scene from “Kaifeck Murder” (photo © 24 Frames Film)
Hotel Sahara<br />
Viewed from above, the Sahara is oddly gentle; the small<br />
s<strong>and</strong> hills, chains of dunes, dried out wadis <strong>and</strong> s<strong>and</strong> ripples<br />
all lend the desert their special charm. An unbroken<br />
yellow surface that occasionally segues into brownish <strong>and</strong><br />
sometimes shines blazing yellow, it is impossible to remain<br />
unaffected by its beguiling beauty. Africa begins directly<br />
behind it – or in front of it, depending on the direction<br />
one comes from.<br />
Hotel Sahara is a film journey to the last invisible border<br />
from the West-African coast to Europe: Hotel Sahara is a<br />
metaphor, a point of arrival, of departure, of broken<br />
dreams. A melting pot. A place of gathering, of right <strong>and</strong><br />
wrong recitals, of split personalities. It is, above all, a noman’s<br />
l<strong>and</strong>, a place of endless waiting, <strong>and</strong> endless hoping.<br />
In the beginning Nouadhibou looks like any other West<br />
African city, but entering the colorful lives of the people<br />
who live there, we discover what it means to be on transit,<br />
on the road, stuck in a desert city next to the Atlantic<br />
Ocean, between hope <strong>and</strong> despair, between homelessness<br />
<strong>and</strong> the search <strong>for</strong> a home. Hotel Sahara offers a new<br />
perspective on the actual situation of migrants attempting<br />
a new life in “the North”.<br />
World Sales (please contact)<br />
Gebrueder Beetz Filmproduktion · Christian Beetz<br />
Heinrich-Roller-Strasse 15 · 10405 Berlin/<strong>German</strong>y<br />
phone +49-30-69 56 69 10 · fax +49-30-69 56 69 15<br />
email: info@gebrueder-beetz.de · www.gebrueder-beetz.de<br />
Genre Society Category Documentary Cinema Year of Production<br />
<strong>2008</strong> Director Bettina Haasen Screenplay Bettina<br />
Haasen Director of Photography Jacko Vant’Hof Editor<br />
Kristine Langner Music by Karsten Hoefer Producer Christian<br />
Beetz Production Company Gebrueder Beetz Filmproduktion/Berlin<br />
Length 85 & 52 min Format HD Blow-up<br />
35 mm, color Original Version <strong>French</strong>/Bambara/English/<br />
Bamileke/Ibo/Hassaniya Subtitled Versions <strong>German</strong>, English,<br />
<strong>French</strong> Sound Technology Stereo DTS Analog Festival<br />
Screenings DOK Leipzig <strong>2008</strong> With backing from Filmfoerderungsanstalt<br />
(FFA), <strong>German</strong> Federal Film Fund (DFFF),<br />
Medienboard Berlin-Br<strong>and</strong>enburg, MEDIA, SCAM, UNESCO, EU<br />
Awareness Raising in the Field of Development <strong>German</strong><br />
Distributor GMfilms/Berlin<br />
Bettina Haasen was born in 1969. She studied African<br />
Languages <strong>and</strong> Political Sciences in Hamburg <strong>and</strong> Paris. She was a<br />
producer <strong>for</strong> Egoli <strong>Films</strong>/Berlin <strong>and</strong> Wueste Film/Hamburg <strong>and</strong><br />
lived <strong>and</strong> work in Niger/Africa. Her films include: Between Two<br />
Worlds (1999), Nomads Don’t Kiss (2000), Sisters of a<br />
Long Night (2004), Fremde Liebe (2004), Schatten der<br />
Wueste (2006), Ma Vie – Irene Dische (2007), Malick<br />
Sidibé (2007), Chily Gonzales – A Thous<strong>and</strong> Faces<br />
(2007), Between Illusion <strong>and</strong> Reality, the Life of Victor<br />
Vasarely (2007), <strong>and</strong> Hotel Sahara (<strong>2008</strong>).<br />
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Scene from “Hotel Sahara” (photo © Bettina Haasen)
In jeder Sekunde<br />
AT ANY SECOND<br />
“The angels who proclaim love will extinguish the fire, <strong>and</strong><br />
you will be punished,” screams the mentally ill patient in<br />
Dr. Frick’s ward. Maybe Frick should listen up, <strong>for</strong> in the<br />
following days <strong>and</strong> weeks, the angels of love will be busy<br />
enticing a variety of men <strong>and</strong> women to play with fire –<br />
perhaps in order to punish them … Sarah, tempted by<br />
drugs but trying to get her life in order, breaks up with her<br />
coke-snorting boyfriend <strong>and</strong> falls in love with a sweetnatured<br />
photographer. Dr. Frick himself, married <strong>and</strong> the<br />
father of a terminally ill child, succumbs to the charms of<br />
a strong, self-assured woman. With her, Frick finds a welcome<br />
relief from his all-consuming role as dedicated<br />
caretaker of his daughter, his patients, <strong>and</strong> his marriage.<br />
Each of them is on the verge of a major change, each of<br />
them ready to head off in a new direction <strong>and</strong> take the risk<br />
of burning themselves on love. Until one moment of egotism<br />
<strong>and</strong> thoughtlessness provokes a near-tragedy <strong>and</strong> sets<br />
off a chain reaction that will leave no one unscarred.<br />
Director Jan Fehse brings his years-long experience as a<br />
sought-after cinematographer to bear on the poignant<br />
story of a h<strong>and</strong>ful of individuals caught in the grid of<br />
modern urban relationships. By the producers of Sophie<br />
Scholl — The Final Days, starring Sebastian Koch (The Lives<br />
of Others).<br />
World Sales<br />
Bavaria Film International / Dept. of Bavaria Media GmbH · Thorsten Ritter<br />
Bavariafilmplatz 7 · 82031 Geiselgasteig/<strong>German</strong>y<br />
phone +49-89-64 99 26 86 · fax +49-89-64 99 37 20<br />
email: international@bavaria-film.de · www.bavaria-film-international.com<br />
Genre Drama Category Feature Film Cinema Year of<br />
Production <strong>2008</strong> Director Jan Fehse Screenplay Jan Fehse,<br />
Christian Lyra Director of Photography Philipp Kirsamer<br />
Editor Dirk Goehler Music by Andreas Helmle Production<br />
Design Annette Ingerl Producers Sven Burgemeister, Andreas<br />
Schneppe, Bernd Burgemeister Production Companies TV60<br />
Film/Munich, Goldkind Film/Munich, in co-production with BR/<br />
Munich Principal Cast Sebastian Koch, Mina T<strong>and</strong>er, Wotan<br />
Wilke Moehring, Ronald Zehrfeld, Jenny Schily, Barbara Auer<br />
Casting Lore Bloessel Length 99 min, 1,354 m Format 35 mm,<br />
color, 1:1.85 Original Version <strong>German</strong> Subtitled Version<br />
English Sound Technology Dolby Digital Festival<br />
Screenings Hof <strong>2008</strong> With backing from FilmFernsehFonds<br />
Bayern, Bayerische Staatsregierung, <strong>German</strong> Federal Film Fund<br />
(DFFF), Filmfoerderungsanstalt (FFA) <strong>German</strong> Distributor X<br />
Verleih/Berlin<br />
Jan Fehse was born in 1968 <strong>and</strong> is one of <strong>German</strong>y’s most renowned<br />
DoPs. After working as a camera assistant, he was a DoP<br />
on feature <strong>and</strong> television productions as well as commercials <strong>and</strong><br />
music videos with such directors as Ben Verbong (Es ist ein Elch entsprungen,<br />
Sams in Gefahr), Peter Thorwarth (Goldene Zeiten), Robert<br />
Schwentke (Tattoo), Esther Gronenborn (alaska.de) <strong>and</strong> Andreas<br />
Thiel (Kismet). At Any Second (In jeder Sekunde, <strong>2008</strong>)<br />
marks his directorial debut.<br />
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Scene from “At Any Second” (photo © Philipp Kirsamer)
Jerichow<br />
Off the beaten path of life, three people stumble into a<br />
fateful encounter. Thomas, young <strong>and</strong> strong, has been<br />
dishonorably discharged from the army. Ali, an affable<br />
Turkish businessman, has seen some hard times but now<br />
his primary concern is making sure the employees of his<br />
snack-bars don’t cheat on him. Laura, an attractive woman<br />
with a dark past, seems to find refuge in the shadows of<br />
her marriage to Ali.<br />
Thomas, Ali, <strong>and</strong> Laura keep an eye on each other <strong>and</strong><br />
keep their secrets to themselves. They want love but also<br />
security. They consider themselves independent, <strong>and</strong> what<br />
they desire can only be achieved by betrayal.<br />
Jerichow is a love-triangle in which yearning evaporates<br />
into even bigger dreams. This drama unfolds on the country<br />
roads in desolate northeast <strong>German</strong>y, where thick<br />
<strong>for</strong>ests suddenly end on cliffs overlooking the Baltic Sea.<br />
The story is a classic cinematic constellation but with a daring<br />
new interpretation: caught between guilt <strong>and</strong> freedom,<br />
between passion <strong>and</strong> reason, there are wishes whose fulfillment<br />
can only mean escape.<br />
Genre Drama Category Feature Film Cinema Year of Production<br />
<strong>2008</strong> Director Christian Petzold Screenplay<br />
Christian Petzold Director of Photography Hans Fromm<br />
Editor Bettina Boehler Music by Stefan Will Production<br />
World Sales<br />
The Match Factory GmbH · Michael Weber<br />
Balthasarstrasse 79-81 · 50670 Cologne/<strong>German</strong>y<br />
phone +49-2 21-5 39 70 90 · fax +49-2 21-5 39 70 910<br />
email: info@matchfactory.de · www.the-match-factory.com<br />
Design Kade Gruber Producers Florian Koerner von Gustorf,<br />
Michael Weber Production Company Schramm Film Koerner<br />
+ Weber/Berlin, in co-production with BR/Munich, ARTE/<br />
Strasbourg Principal Cast Benno Fuermann, Nina Hoss, Hilmi<br />
Soezer Casting Simone Baer Length 93 min, 2,545 m Format<br />
35 mm, color, 1:1.85 Original Version <strong>German</strong> Subtitled<br />
Version English Sound Technology Dolby SR/Dolby Digital<br />
Festival Screenings Venice <strong>2008</strong> (In Competition), Toronto<br />
<strong>2008</strong> With backing from BKM, <strong>German</strong> Federal Film Fund<br />
(DFFF), Filmfoerderungsanstalt (FFA), Medienboard Berlin-<br />
Br<strong>and</strong>enburg <strong>German</strong> Distributor Piffl Medien/Berlin<br />
Christian Petzold is one of the leading directors of recent<br />
<strong>German</strong> cinema. The <strong>German</strong> Film Critics Association has twice<br />
awarded him Best Film awards, <strong>for</strong> Ghosts (Gespenster, 2005)<br />
<strong>and</strong> The State I Am In (Die Innere Sicherheit, 2000). He<br />
was twice named Best Director at the <strong>German</strong> Film Awards, <strong>for</strong><br />
Wolfsburg (2002) <strong>and</strong> The State I Am In, which also won<br />
Best Screenplay at Thessaloniki <strong>and</strong> the Gr<strong>and</strong> Prize at<br />
Valenciennes. Petzold has also received much acclaim <strong>for</strong> his other<br />
films, including: Something to Remind Me (Toter Mann,<br />
2002), Die Beischlafdiebin (1998), Cuba Libre (1995),<br />
Yella (2007), <strong>and</strong> Jerichow (<strong>2008</strong>). Born in 1960, Petzold studied<br />
<strong>German</strong> <strong>and</strong> Theater Studies at the Free University in Berlin, then<br />
graduated from the <strong>German</strong> Film & Television Academy (dffb) in<br />
1994.<br />
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Scene from “Jerichow” (photo © Schramm Film/Christian Schulz)
Krabat<br />
The Thirty Years’ War has brought much death <strong>and</strong><br />
destruction to central Europe, <strong>and</strong> has left 14-year-old<br />
Krabat an orphan. Lost <strong>and</strong> devastated, Krabat’s keen survival<br />
instincts lead him to a remote valley, where he finds<br />
a mysterious mill run by an ominous figure known as the<br />
Master. The lure of a safe haven, hot meals <strong>and</strong> an apprenticeship<br />
under the Master is hard to resist … But gradually<br />
Krabat uncovers a horrifying secret: the mill is in fact a<br />
school of black magic <strong>and</strong> the Master is in league with<br />
satanic powers. While Krabat <strong>and</strong> his young colleagues<br />
revel in the teachings of the Master, they realize there is a<br />
price to pay: complete submission to the Master <strong>and</strong> even<br />
death. After Krabat witnesses Tonda, his closest friend at<br />
the mill, perish at the Master’s h<strong>and</strong>s, the fire of rebellion<br />
starts raging within the young boy. Krabat is able to find<br />
strength through the lovely Kantorka. Armed with nothing<br />
but courage <strong>and</strong> their united love, together the young couple<br />
brave the Master …<br />
Krabat is a dark yet uplifting fantasy based on a worldwide<br />
best-seller. A soul-stirring adventure <strong>for</strong> all ages,<br />
Krabat seizes the viewer with its atmospheric power <strong>and</strong><br />
emotional truthfulness, starring Daniel Bruehl (Good Bye,<br />
Lenin!, The Edukators) <strong>and</strong> David Kross as Krabat.<br />
Genre Coming-of-Age Story, Fantasy Category Feature Film<br />
Cinema Year of Production <strong>2008</strong> Director Marco<br />
World Sales<br />
Bavaria Film International / Dept. of Bavaria Media GmbH · Thorsten Ritter<br />
Bavariafilmplatz 7 · 82031 Geiselgasteig/<strong>German</strong>y<br />
phone +49-89-64 99 26 86 · fax +49-89-64 99 37 20<br />
email: international@bavaria-film.de · www.bavaria-film-international.com<br />
Kreuzpaintner Screenplay Michael Gutmann, Marco<br />
Kreuzpaintner, based on the novel by Otfried Preussler Director<br />
of Photography Daniel Gottschalk Editor Hansjoerg<br />
Weissbrich (BFS) Music by Annette Focks Production Design<br />
Christian M. Goldbeck (SFK) Producers Uli Putz, Thomas<br />
Woebke, Jakob Claussen, Bernd Wintersperger, Nick Hamson, Lars<br />
Sylvest Production Companies Claussen+Woebke+Putz<br />
Filmproduktion/Munich, Krabat Filmproduktion/Munich, in co-production<br />
with SevenPictures Film/Munich, B.A. Produktion/Munich,<br />
in association with Brass Hat <strong>Films</strong>/London Principal Cast David<br />
Kross, Daniel Bruehl, Christian Redl, Robert Stadlober, Paula<br />
Kalenberg, Anna Thalbach, Hanno Koffler Casting An Dorthe<br />
Braker Length 120 min, 3,279 m Format 35 mm, color, cs<br />
Original Version <strong>German</strong> Subtitled Version English<br />
Sound Technology Dolby Digital/SRD/DTS Festival<br />
Screenings Toronto <strong>2008</strong> With backing from <strong>Films</strong>tiftung<br />
NRW, FilmFernsehFonds Bayern, Filmfoerderungsanstalt (FFA),<br />
Medienboard Berlin-Br<strong>and</strong>enburg, MFG Baden-Wuerttemberg,<br />
BKM, Kuratorium junger deutscher Film, MEDIA Plus <strong>German</strong><br />
Distributor 20th Century Fox (<strong>German</strong>y)/Frankfurt<br />
Marco Kreuzpaintner was born in Rosenheim in 1977. After<br />
studying Art History, he worked as an assistant to Edgar Reitz <strong>and</strong><br />
Peter Lilienthal. His films include: Entering Reality (short,<br />
1998), Der Atemkuenstler (short, 2000), REC –<br />
Kassettenmaedchen/Kassettenjungs (TV, 2001),<br />
Breaking Loose (Ganz und Gar, 2003), Summer Storm<br />
(Sommersturm, 2004), Trade (2007), <strong>and</strong> Krabat (<strong>2008</strong>).<br />
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Scene from “Krabat” (photo © CWP-Film/Marco Nagel)
Ma’rib<br />
Ma’rib is part two of a tetralogy dealing with cities that<br />
had been destroyed in their history. Each film of the series<br />
is connected to one of the four elements. Ma’rib is<br />
connected to the element "earth" in the <strong>for</strong>m of s<strong>and</strong>, soil<br />
<strong>and</strong> stone. The city is situated 150 km east of the capital<br />
Sana’a where the Yemeni mountains meet the Rhub al-<br />
Khali desert. 4000 diesel pumps irrigate the oasis <strong>and</strong> a<br />
new power station will supply Sana’a with electricity. With<br />
no dialogues or narration, Ma’rib proposes an exploration<br />
of particular habits, rhythms <strong>and</strong> gestures of an arid region<br />
in a rugged country – until it trans<strong>for</strong>ms immediate register<br />
into unfamiliar everyday life, in a constant zigzag between<br />
sociological observation <strong>and</strong> sudden poetry.<br />
Genre Portrait Category Documentary Short Year of Production<br />
<strong>2008</strong> Director Rainer Komers Screenplay Rainer<br />
Komers Director of Photography Rainer Komers Editor<br />
Bert Schmidt Producer Rainer Komers Production<br />
Company Rainer Komers Film/Muelheim an der Ruhr Length<br />
30 min Format Super 16 mm Blow-up 35 mm, color, 1:1.85<br />
World Sales (please contact)<br />
Rainer Komers Film<br />
Moritzstrasse 102 · 45476 Muelheim an der Ruhr/<strong>German</strong>y<br />
phone +49-2 08-77 94 38 · email: r.komers@t-online.de<br />
Original Version no dialogue Festival Screenings Big Sky<br />
Missoula <strong>2008</strong>, Oberhausen <strong>2008</strong>, Planet In Focus Toronto <strong>2008</strong>,<br />
FeSanCor Santiago de Chile <strong>2008</strong>, Leipzig <strong>2008</strong>, Invideo Milan <strong>2008</strong><br />
With backing from BKM, <strong>Films</strong>tiftung NRW <strong>German</strong><br />
Distributor Internationale Kurzfilmtage Oberhausen<br />
Rainer Komers was born in 1944 in Guben. He studied Film at<br />
the Art Academy Duesseldorf <strong>and</strong> Photography at Essen University.<br />
His films have been shown by numerous international festivals <strong>and</strong><br />
broadcasters <strong>and</strong> he lectures in Film in Berlin, Duesseldorf,<br />
Muenster <strong>and</strong> Vienna. His films as a director include: 2211<br />
Buettel (1974), Zigeuner in Duisburg (1978-1980), 480<br />
Tonnen bis viertel vor zehn (1981), Wer bezahlte fuer<br />
Hitler? (1983), Die Sterne der Heimat (1985),<br />
Erinnerung an Rheinhausen (1987-1989), Lettischer<br />
Sommer (1992), Ofen aus (1993-1995), Ein Schloss fuer<br />
alle (1998), B 224 (Earthmoving) (1999), NH 2 (Earthmoving)<br />
(2004), Nome Road System (Earthmoving)<br />
(2004), Kobe (2006), <strong>and</strong> Ma’rib (<strong>2008</strong>).<br />
german films quarterly new german films<br />
4 · <strong>2008</strong> 48<br />
Scene from “Ma’rib” (photo © Rainer Komers Film)
Mike Figgis – The Seduction of the Eye<br />
“I’ll tell you everything I know. Then it’s up to you, because<br />
in fact, knowledge is just a tool. It gives you the ability<br />
to do something. It doesn’t actually create anything, it<br />
just facilitates it. That’s all. So, I always give away everything,”<br />
says Mike Figgis in his most extensive interview<br />
ever.<br />
Mike Figgis – musician, actor, photographer, screenwriter,<br />
theater director <strong>and</strong> filmmaker – is the creative mastermind<br />
behind numerous projects.<br />
Undoubtedly, his most popular film is Leaving Las Vegas,<br />
which earned him two Academy Award nominations <strong>and</strong><br />
won Nicolas Cage the Oscar ® <strong>for</strong> the Best Male Lead.<br />
Nonetheless, Figgis never allowed himself to get lost in the<br />
commercial world of Hollywood, but rather chose to stay<br />
true to his experimental way of telling stories.<br />
What makes Mike Figgis so intriguing is his exceptional<br />
spiritual, inner freedom. This film sets out to uncover the<br />
secret behind this mastermind of filmmaking.<br />
World Sales (please contact)<br />
Ina Borrmann Filmproduktion<br />
Niebuhrstrasse 56 · 10629 Berlin/<strong>German</strong>y<br />
phone/fax +49-30-50 18 12 30<br />
email: post@inaborrmann.de · www.inaborrmann.de<br />
Genre Art, Interview Category Documentary Year of<br />
Production 2007 Director Ina Borrmann Screenplay Ina<br />
Borrmann Directors of Photography Nikolaus Summerer, Ina<br />
Borrmann Editor Georg Soering Producer Ina Borrmann<br />
Production Company Ina Borrmann Filmproduktion/Berlin<br />
With Mike Figgis Length 75 & 58 min Format DV, color, 16:9<br />
Original Version English Sound Technology Stereo<br />
Festival Screenings Hof 2007, Gothenburg <strong>2008</strong><br />
Ina Borrmann was born in Freiberg in Saxony. She studied<br />
Theater Sciences <strong>and</strong> <strong>German</strong> Language Studies at the Ludwig-<br />
Maximilan-University in Munich, followed by studies at Munich’s<br />
University of Television & Film. Active as a freelance writer, director<br />
<strong>and</strong> director of photography, her films as a director include:<br />
Glotzt nicht so romantisch (short, 1997), Haende Hoch<br />
(short, 1999), Versuchte Naehe (2000), Texas (part of the<br />
MEXartes Berlin exhibit, 2002), Das Verschwinden der Zeit,<br />
documentary essay, 2004-<strong>2008</strong>), <strong>and</strong> Mike Figgis – The<br />
Seduction of the Eye (documentary, 2007).<br />
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Mike Figgis (photo © Max S. Gerber)
Das Morphus-Geheimnis<br />
MYSTERY OF MORPHUS<br />
What happens when all of a sudden everyone else falls<br />
asleep <strong>and</strong> you are the only one who stays awake? This is<br />
what ten-year-old Nicki involuntarily experiences when<br />
the last composition called Morphus by the great composer<br />
Ludwig van Beethoven accidentally ends up in his schoolbag.<br />
The melody holds magic powers because everybody<br />
who listens to it falls asleep. Only a few people know<br />
about this secret, like the gangsters Max <strong>and</strong> Kwapisch.<br />
On a trip with his dad into the snowy mountains, the<br />
gangsters follow them to steal the Morphus score. They<br />
want to use the magic <strong>for</strong>ce of the music <strong>for</strong> their racketeering.<br />
For the shy boy this is the start of a turbulent<br />
adventure. After arriving at the hotel Nicki learns about<br />
the magic powers of the melody when he starts to play it<br />
on his trumpet. He experiences that suddenly everyone<br />
around him falls asleep, except <strong>for</strong> Max <strong>and</strong> Kwapisch.<br />
Now he is completely alone <strong>and</strong> has to face the attacks<br />
<strong>and</strong> intrigues of the two gangsters. He has to fight <strong>for</strong> the<br />
Morphus score to save himself, his dad <strong>and</strong> everyone else<br />
from the evil doings of the villains. In this difficult situation,<br />
he makes substantial progress <strong>and</strong> changes from an<br />
anxious child into a self-confident boy.<br />
World Sales<br />
Progress Film-Verleih GmbH · Christel Jansen<br />
Immanuelkirchstrasse 14b · 10405 Berlin/<strong>German</strong>y<br />
phone +49-30-24 00 32 25 · fax +49-30-24 00 32 22<br />
email: c.jansen@progress-film.de · www.progress-film.de<br />
Genre Adventure, Children <strong>and</strong> Youth, Family Entertainment<br />
Category Feature Film Cinema Year of Production <strong>2008</strong><br />
Director Karola Hattop Screenplay Andrzej Maleska<br />
Director of Photography Sebastian Richter Music by Eike<br />
Hosenfeld, Moritz Denis Producer Juergen Haase Production<br />
Company Provobis Film/Berlin, in co-production with RBB/<br />
Potsdam-Babelsberg, MDR/Leipzig, BR/Munich, Langfilm/Zurich,<br />
Teleclub Switzerl<strong>and</strong>/Zurich Principal Cast Jonas Haemmerle,<br />
Michael Roll, Oliver Korittke, Arndt Schwering-Sohnrey, Magali<br />
Greif, Charlotte Crome Casting Britt Beyer, Jacqueline Rietz<br />
Length 96 min, 2,616 m Format 16 mm Blow-up 35 mm,<br />
color, 1:1.78 Original Version <strong>German</strong> Subtitled Version<br />
English Sound Technology Stereo, Dolby Digital With<br />
backing from Medienboard Berlin-Br<strong>and</strong>enburg, <strong>German</strong><br />
Federal Film Fund (DFFF) <strong>German</strong> Distributor Central Film<br />
Vertrieb/Berlin<br />
Karola Hattop was born in 1949 in Berlin <strong>and</strong> studied at the<br />
"Konrad Wolf" Academy of Film & Television (HFF/B) in Potsdam-<br />
Babelsberg. Since then, she has been working as a director <strong>for</strong> film<br />
<strong>and</strong> television. A selection of her films includes: Eine schoene<br />
Bescherung (1984), Elefant im Krankenhaus (1991), Ich<br />
schenk Dir meinen Mann (1998), Secondh<strong>and</strong> Child<br />
(Wer kuesst schon einen Leguan?, 2003), Unsere zehn<br />
Gebote (2007), Wie verfuehr’ ich meinen Ehemann<br />
(2007), <strong>and</strong> Mystery of Morphus (Das Morphus-<br />
Geheimnis, <strong>2008</strong>).<br />
german films quarterly new german films<br />
4 · <strong>2008</strong> 50<br />
Scene from “Mystery of Morphus” (photo © Provobis/Annegret Plehn)
Narrenspiel<br />
FOOL’S GAME<br />
Stefan <strong>and</strong> Claudia plan a trip to the coast in a camper as<br />
a last attempt to save their troubled relationship. Along the<br />
way, they pick-up a hitchhiker, Uli, who also happens to<br />
be a professional puppeteer. Uli tries to “entertain” them<br />
with his puppet, but something just doesn’t seem right.<br />
The situation becomes more serious as the puppet seems<br />
to develop a life of its own. As Stefan thinks he might<br />
recognize Uli from somewhere, a mysterious game begins<br />
which becomes more <strong>and</strong> more dangerous <strong>for</strong> Stefan <strong>and</strong><br />
Claudia.<br />
Genre Drama, Thriller Category Feature Film Cinema Year of<br />
Production <strong>2008</strong> Director Markus F. Adrian Screenplay<br />
Heiko Martens Director of Photography Anna Maria Hora<br />
Editor Sabine Strunk Music by Nicolas Nohn, Emannuel Hoisl<br />
Production Design Andreas Braun Producer Oliver Eitner<br />
Production Company Hochschule fuer Film & Fernsehen<br />
World Sales (please contact)<br />
Hochschule fuer Film & Fernsehen “Konrad Wolf” · Cristina Marx<br />
Marlene-Dietrich-Allee 11 · 14482 Potsdam-Babelsberg/<strong>German</strong>y<br />
phone +49-3 31-6 20 25 64 · fax +49-3 31-6 20 25 69<br />
email: distribution@hff-potsdam.de · www.hff-potsdam.de<br />
’Konrad Wolf ’/Potsdam-Babelsberg, in co-production with ARTE/<br />
Strasbourg Principal Cast Wolfgang Menardi, Stefanie<br />
Schoenfeld, Norman Schenk Length 82 min Format<br />
DigiBeta/Betacam SP Blow-up 35 mm, color, 1:1.85 Original<br />
Version <strong>German</strong> Subtitled Version English Sound<br />
Technology Dolby Stereo SR Festival Screenings Munich<br />
<strong>2008</strong> Awards Best Screenplay Munich <strong>2008</strong><br />
Markus F. Adrian was born in 1979. He was a trainee at the<br />
public broadcasters NDR, SFB <strong>and</strong> WDR <strong>and</strong> worked as an assistant<br />
unit manager <strong>and</strong> assistant director <strong>for</strong> Hallmark Entertainment,<br />
Studio Hamburg, Sat1 <strong>and</strong> Pro7 from 2000-2002. Since 2002, he has<br />
been a student at the “Konrad Wolf ” Academy of Film & Television.<br />
His films include: Der Schenker (2003), Energie (2004),<br />
Dame (2005), Heute ist der Tag (2005), Nachtw<strong>and</strong>ler<br />
(2007), Verflucht (2007), <strong>and</strong> Narrenspiel (<strong>2008</strong>).<br />
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Scene from “Fool’s Game” (photo © Anna Maria Hora/HFF Potsdam)
Neben der Spur<br />
TOUR EXCESS<br />
Julie (22) is traveling with her boyfriend Marcel (28) in his<br />
old Porsche towards the south of France, intending to stay<br />
at the cottage of her artist mother Susan <strong>for</strong> a couple of<br />
days. Marcel is keeping his drug addiction secret from<br />
Julie. Julie, on the other h<strong>and</strong>, has a hidden matter rumbling<br />
within; she doesn’t know her father Heinrich who is<br />
said to be living near Goa.<br />
After a fight with Marcel, Julie gets in the caravan of the<br />
much older Greenpeace activist Dieter. She spends the<br />
night with him at the beach <strong>and</strong> they have sex. The next<br />
morning Julie wakes up at the beach on her own, Dieter<br />
<strong>and</strong> his caravan having disappeared.<br />
But Julie’s father actually isn’t as far away as assumed. To<br />
the contrary, he is a successful manager residing around<br />
the corner <strong>and</strong> he is being observed by Dieter who is<br />
following a perfidious plan.<br />
Genre Drama Category Feature Film Cinema Year of Production<br />
2007 Director Detlef Bothe Screenplay Detlef<br />
World Sales<br />
Media Luna Entertainment GmbH & Co. KG · Ida Martins<br />
Aachener Strasse 26 · 50674 Cologne/<strong>German</strong>y<br />
phone +49-2 21-8 01 49 80 · fax +49-2 21-80 14 98 21<br />
email: info@medialuna-entertainment.de · www.medialuna-entertainment.de<br />
Bothe Director of Photography Luis de Maia Editor<br />
Constantin Brodt Music by Peer Raben, Fauna Flash Production<br />
Design Oliver Hoese Producer Detlef Bothe Production<br />
Company B-Filme/Munich, in co-production with<br />
BR/Munich Principal Cast Axel Milberg, Tom Schilling, Mia<br />
Florentine Weiss, Detlef Bothe, Gabrielle Scharnitzky, Wotan Wilke<br />
Moehring, Leslie Malton, Pierre Kiwitt, Dominik Raacke, Oliver<br />
Korittke Casting Stefany Pohlmann, Nina Haun, An Dorthe Braker<br />
Length 90 min Format HD, color, 1:1.66 Original Version<br />
<strong>German</strong> Subtitled Version English Sound Technology<br />
Dolby SR Festival Screenings Montreal 2007 With backing<br />
from FilmFernsehFonds Bayern<br />
Detlef Bothe was born in 1965 in Braunschweig <strong>and</strong> trained as<br />
an actor from 1989-1992. Since 1990, he has been acting <strong>for</strong> film,<br />
television <strong>and</strong> theater <strong>and</strong> debuted as a director in 2002 with<br />
Feiertag, which won the Special Jury Prize at the Filmfest Munich<br />
in the same year. Also active as a writer <strong>for</strong> film, television <strong>and</strong> the<br />
theater, his other films include: My Wife, My Friends <strong>and</strong> Me<br />
(Meine Frau, meine Freunde und ich, 2004) <strong>and</strong> Tour<br />
Excess (Neben der Spur, 2007).<br />
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Scene from “Tour Excess” (photo © B-Filme)
NoBody’s Perfect<br />
The documentary NoBody’s Perfect follows Niko von<br />
Glasow as he looks <strong>for</strong> eleven people who, like him, were<br />
born disabled due to the disastrous side-effects of<br />
Thalidomide, <strong>and</strong> who are prepared to pose <strong>for</strong> a book of<br />
photos. And to pose naked – to allow those who regularly<br />
throw furtive glances at Thalidomiders <strong>and</strong> other physically<br />
disabled people, to take a good, long look. In the process,<br />
Niko discovers many fascinating characters who work<br />
in such diverse areas as politics, the media, sport, astrophysics<br />
<strong>and</strong> acting. Characters who have learned to live<br />
with their disability to an impressive level of “normality”.<br />
With a darkly humorous touch, <strong>and</strong> no deference to political<br />
correctness, NoBody’s Perfect explores the specific<br />
problems which these twelve extraordinary people have<br />
faced during childhood, adolescence <strong>and</strong> adulthood, <strong>and</strong><br />
shows them reacting with curiosity, enthusiasm or (like<br />
Niko himself) horror towards the project. As the film<br />
approaches its climax – the photoshoots – von Glasow<br />
completes the picture with scenes showing his unsuccessful<br />
attempts to make contact with the chemical company<br />
Gruenenthal, to talk about Thalidomide <strong>and</strong> its effects.<br />
Von Glasow presents an impressive portrayal of the sensitivities<br />
<strong>and</strong> feelings of disabled people, <strong>and</strong> our society’s<br />
reactions to them.<br />
Genre Society Category Documentary Cinema Year of<br />
Production <strong>2008</strong> Director Niko von Glasow Screenplay<br />
Andrew Emerson, Niko & Kiki von Glasow Director of<br />
Photography Ania Dabrowska Editor Mechthild Barth<br />
Production Design Henrike Mueller Producer Niko von<br />
Glasow Production Company Palladio Film/Cologne, in coproduction<br />
with WDR/Cologne With Stefan Fricke, Sofia Plich,<br />
Bianca Vogel, Sigrid Kwella, Doris Pakendorf, Theo Zavelberg, Petra<br />
Uttenweiler, Andreas Meyer, Kim Morton, Fred Dove, Mat Fraser,<br />
Niko von Glasow, M<strong>and</strong>el von Glasow Length 84 min, 2,376 m<br />
Format 35 mm, color, 1:1.85 Original Version <strong>German</strong>/<br />
English Subtitled Version English Sound Technology Dolby<br />
SR Festival Screenings Locarno <strong>2008</strong>, Prix Europa <strong>2008</strong>, Sao<br />
Paulo <strong>2008</strong> With backing from <strong>German</strong> Federal Film Fund<br />
(DFFF), <strong>Films</strong>tiftung NRW <strong>German</strong> Distributor Ventura Film/<br />
Berlin<br />
Niko von Glasow was born in 1960 in Cologne. He began his<br />
career with Rainer Werner Fassbinder as a production assistant, followed<br />
by work with various film distributors, studios <strong>and</strong> festivals.<br />
He studied Directing at New York University <strong>and</strong> at the Film<br />
Academy in Lódz/Pol<strong>and</strong>. His films include: Wedding Guests<br />
(Hochzeitsgaeste, 1990), Marie’s Song (Maries Lied,<br />
1994), Edelweiss Pirates (Edelweisspiraten, 2004),<br />
Schau mich an (TV, 2007), <strong>and</strong> NoBody’s Perfect (<strong>2008</strong>).<br />
World Sales<br />
Autlook <strong>Films</strong>ales<br />
Zieglergasse 75/1 · 1070 Vienna/Austria<br />
phone +43-1-7 20 55 35 70 · fax +43-1-7 20 55 35 72<br />
email: welcome@autlookfilms.com · www.autlookfilms.com · www.nobodysperfect-film.de<br />
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Kim Morton in “NoBody’s Perfect” (photo © Palladio Film, <strong>2008</strong>)
Der Pfad des Kriegers<br />
THE WAY OF A WARRIOR<br />
Michael N. is a wild child. On his sleigh, he races down the<br />
snowy slopes of the <strong>for</strong>est, almost unable to brake. He<br />
leaves his home in South Tyrol in the early 80s, determined<br />
to become a Catholic priest. Eventually he turns his<br />
back on Europe <strong>and</strong> joins the Jesuits in South America,<br />
where the Catholics priests have sided with the powerless<br />
<strong>and</strong> humiliated.<br />
Eight years later, as the head of the Bolivian guerilla troop,<br />
he commits terrorist attacks <strong>and</strong> kidnaps Bolivia’s Coca-<br />
Cola boss. Several months later, he dies in a hail of police<br />
bullets, taking with him the kidnapee <strong>and</strong> almost every<br />
comm<strong>and</strong>o member. He leaves behind letters addressed<br />
to his family, audio recordings of religious <strong>and</strong> Bolivian<br />
folk songs, <strong>and</strong> a stunned <strong>and</strong> speechless family, along<br />
with the diary of a kidnapping.<br />
1990. The Wall has come down. The Cold War <strong>and</strong> all the<br />
ardent visions that went with it are declared over <strong>and</strong> <strong>for</strong>gotten.<br />
No one is interested in the boy who wanted to<br />
become a priest <strong>and</strong> bring God’s Kingdom to one of the<br />
poorest countries in the world. Ten years later, Europe is<br />
confronted with a new generation of educated idealistic<br />
young men: men who are deadly serious about God’s<br />
Kingdom on Earth.<br />
World Sales<br />
Deckert Distribution · Heino Deckert<br />
Marienplatz 1 · 04103 Leipzig/<strong>German</strong>y<br />
phone +49-3 41-2 15 66 38 · fax +49-3 41-2 15 66 39<br />
email: info@deckert-distribution.com · www.deckert-distribution.com<br />
The Way of a Warrior is a documentary about the mortality<br />
of ideologies <strong>and</strong> the immortality of the dead. A film<br />
about Michael N. <strong>and</strong> those who mourn him.<br />
Genre History Category Documentary Year of Production<br />
<strong>2008</strong> Director Andreas Pichler Screenplay Andreas Pichler<br />
Director of Photography Susanne Schuele Editors Marzia<br />
Mete, Andreas Zitzmann Music by Paul Lemp Producer<br />
Thomas Tielsch Production Company Filmtank/Hamburg, in<br />
co-production with Dschoint Ventschr Filmproduktion/Zurich,<br />
Miramonte Film/Bolzano, ZDF/Mainz, DRS-RAI/Bolzano Length<br />
52 & 88 min, 2,587 m Format DigiBeta Blow-up 35 mm, color,<br />
1:1.85 Original Version <strong>German</strong> Dubbed Version English<br />
Subtitled Version English Sound Technology Dolby SR<br />
Festival Screenings Saarbruecken <strong>2008</strong>, Solothurn <strong>2008</strong>, Docs<br />
Barcelona <strong>2008</strong>, Al Jazeera Film Festival <strong>2008</strong>, Bolzano <strong>2008</strong>,<br />
Innsbruck <strong>2008</strong>, Bellaria Film Festival Anteprima Doc Rimini <strong>2008</strong><br />
Awards Audience Award Bolzano <strong>2008</strong>, 2nd Prize Vela d’Argento<br />
& UCCA 20 Città Rimini <strong>2008</strong> With backing from<br />
Filmfoerderung Hamburg Schleswig-Holstein, BKM, Zuercher<br />
<strong>Films</strong>tiftung, L<strong>and</strong> Suedtirol, MEDIA<br />
Andreas Pichler was born in 1967 in Bolzano/Italy <strong>and</strong> studied<br />
Film, Cultural Science <strong>and</strong> Philosophy in Bologna <strong>and</strong> Berlin. A selection<br />
of his films includes: Mirabella – Return Ticket to<br />
<strong>German</strong>y (2001), Music as a State of Mind – The Composer<br />
Max Reger (2002), Call Me Babylon (2003),<br />
Antonio Negri – A Revolt That Never Ends (2004), My<br />
3 Peaks (2005), Franco D’Andrea – Jazz Pianist (2006),<br />
<strong>and</strong> The Way of a Warrior (<strong>2008</strong>).<br />
german films quarterly new german films<br />
4 · <strong>2008</strong> 54<br />
Scenes from “The Way of a Warrior” (photo © filmtank)
Schattenwelt<br />
LONG SHADOWS<br />
After two decades in prison, Widmer, a <strong>for</strong>mer <strong>German</strong><br />
RAF-terrorist, is released. He meets Valerie, his next door<br />
neighbor. The young woman tries to get her life back on<br />
track after she lost custody of her little son. She shows<br />
some interest in Widmer, the two of them seem to have<br />
something in common. They discreetly enter into the<br />
secrets of their lives. Until the truth comes between them.<br />
Genre Drama Category Feature Film Cinema Year of<br />
Production <strong>2008</strong> Director Connie Walther Screenplay Uli<br />
Herrmann, in cooperation with Connie Walther <strong>and</strong> Peter-Juergen<br />
Boock Director of Photography Birgit Gudjonsdottir Editor<br />
Karen Loenneker Music by Rainer Oleak Production Design<br />
Agi Dawaachu Producers Clementina Hegewisch, Michael<br />
Jungfleisch Production Companies NextFilm/Berlin, Gambit<br />
Film/Ludwigsburg, in co-production with BR/Munich, ARTE/<br />
Strasbourg Principal Cast Franziska Petri, Ulrich Noethen, Tatja<br />
Seibt, Uwe Kockisch, Christoph Bach, Mehdi Nebbou, Eva Mattes<br />
Casting Sabine Schwedhelm Length 92 min, 2,704 m Format<br />
16 mm Blow-up 35 mm, color, 1:1.85 Original Version<br />
<strong>German</strong> Subtitled Version English Sound Technology DTS<br />
Digital Festival Screenings Rome <strong>2008</strong> (Cinema <strong>2008</strong><br />
World Sales<br />
Sola Media GmbH · Solveig Langel<strong>and</strong><br />
Osumstrasse 17 · 70599 Stuttgart/<strong>German</strong>y<br />
phone +49-7 11-4 79 36 66 · fax +49-7 11-4 79 26 58<br />
email: post@sola-media.net · www.sola-media.net<br />
Competition) With backing from MFG Baden-Wuerttemberg,<br />
BKM, Medienboard Berlin-Br<strong>and</strong>enburg, <strong>German</strong> Federal Film Fund<br />
(DFFF), Filmfoerderungsanstalt (FFA) <strong>German</strong> Distributor<br />
Salzgeber & Co. Medien/Berlin<br />
Connie Walther studied Sociology <strong>and</strong> Spanish be<strong>for</strong>e switching<br />
over to Photography. After gathering experience as a lighting gaffer<br />
<strong>and</strong> production <strong>and</strong> directing assistant, she studied at the <strong>German</strong><br />
Film & Television Academy (dffb) in Berlin <strong>and</strong> l<strong>and</strong>ed her first success<br />
with her graduation film Das erste Mal (1996), which was<br />
named Best Graduation Film from a <strong>German</strong> film academy in that<br />
year. Since then, she has demonstrated her talents with various<br />
genres <strong>and</strong> <strong>for</strong>mats with films such as: Boersday Blues (short,<br />
1992), Der Clown II (TV, 1997), Tic Tac Toe (TV documentary,<br />
1998), Hauptsache Leben (1998), Offene Rechnung<br />
(TV, 1999), Never Mind the Wall (Wie Feuer und<br />
Flamme, 2001), Im falschen Leben (TV, 2001), Und<br />
Tschuess, ihr lieben (TV, 2002), Ei in Japan (documentary,<br />
2005), Mord in aller Unschuld (TV, 2006), 12 Means: I<br />
Love You (TV, 2007), <strong>and</strong> Long Shadows (Schattenwelt,<br />
<strong>2008</strong>).<br />
german films quarterly new german films<br />
4 · <strong>2008</strong> 55<br />
Scene from “Long Shadows” (photo © Olaf Aue)
Short Cut to Hollywood<br />
John F. Salinger’s real name is Johannes Friedrich Selinger.<br />
He’s a technician working <strong>for</strong> a local phone company in<br />
Berlin, who, at the ’not so tender’ age of 35, has to admit<br />
that his life hasn’t quite turned out the way he imagined.<br />
Just when it becomes abundantly clear to him that time is<br />
running out in terms of achieving fame <strong>and</strong> <strong>for</strong>tune <strong>and</strong><br />
that he most likely won’t be leaving anything behind <strong>for</strong><br />
future generations to behold, he has a brilliant idea! He<br />
will make a film! A film that will earn him his place in<br />
history.<br />
His two best friends, a medical school dropout who now<br />
works as an ambulance driver <strong>and</strong> a failed used cars salesman,<br />
are stoked! What a terrific idea! And so the three<br />
underdogs head to the United States to shoot their documentary-style<br />
road movie, convinced that, despite the<br />
many obstacles they will most likely have to face,<br />
Hollywood will soon be at their beck <strong>and</strong> call.<br />
Singing, they hit the road traveling across the United States<br />
on endless highways with nothing but the most unbelievable<br />
ideas in the history of filmmaking on their minds. At<br />
first people just sneer at them but then the “bomb explodes”<br />
<strong>and</strong> it all starts to happen: the conquest of a new<br />
continent begins. A media frenzy ensues. America goes<br />
wild. The three succeed <strong>and</strong> become world famous. But<br />
<strong>for</strong> Johannes the price of fame is high …<br />
World Sales<br />
Bavaria Film International / Dept. of Bavaria Media GmbH · Thorsten Ritter<br />
Bavariafilmplatz 7 · 82031 Geiselgasteig/<strong>German</strong>y<br />
phone +49-89-64 99 26 86 · fax +49-89-64 99 37 20<br />
email: international@bavaria-film.de · www.bavaria-film-international.com<br />
Genre Road Movie, Black Comedy Category Feature Film<br />
Cinema Year of Production <strong>2008</strong> Directors Marcus<br />
Mittermeier, Jan Henrik Stahlberg Screenplay Jan Henrik<br />
Stahlberg Director of Photography David Hofmann Editors<br />
Christian Lonk, Sarah Clara Weber Music by Rainer Oleak<br />
Production Design Peter Naguib Producers Marcos Kantis,<br />
Martin Lehwald, Matthias Esche, Philipp Kreuzer, Marcus Mittermeier,<br />
Jan Henrik Stahlberg Production Companies Schiwago<br />
Film/Berlin, Bavaria Pictures/Geiselgasteig, Bavaria Film/Geiselgasteig,<br />
Muxfilm/Pentling, in co-production with Artdeluxe/Vienna,<br />
Capture Film/Los Angeles Principal Cast Jan Henrik Stahlberg,<br />
Marcus Mittermeier, Christoph Kottenkamp Casting Astrid<br />
Rosenfeld Length 95 min, 1,300 m Format 35 mm, color, 1:1.85<br />
Original Version <strong>German</strong> Subtitled Version English Sound<br />
Technology Dolby Digital With backing from Medienboard<br />
Berlin-Br<strong>and</strong>enburg, Filmfoerderungsanstalt (FFA), BKM, <strong>German</strong><br />
Federal Film Fund (DFFF), Kuratorium junger deutscher Film<br />
<strong>German</strong> Distributor Senator Film Verleih/Berlin<br />
Marcus Mittermeier is an actor, director <strong>and</strong> producer. His<br />
films include: Quiet as a Mouse (Muxmaeuschenstill,<br />
2004) <strong>and</strong> Short Cut to Hollywood (<strong>2008</strong>).<br />
Jan Henrik Stahlberg is an actor <strong>and</strong> director. His films include:<br />
Bye Bye Berlusconi! (2005) <strong>and</strong> Short Cut to<br />
Hollywood (<strong>2008</strong>).<br />
german films quarterly new german films<br />
4 · <strong>2008</strong> 56<br />
Scene from “Short Cut to Hollywood” (photo © Bavaria Pictures/Stefan Falke)
St<strong>and</strong>esgemaess<br />
NOBLE COMMITMENTS<br />
Noble Commitments portrays three aristocratic single<br />
women, torn between traditional expectations <strong>and</strong> everyday<br />
life, between manor house <strong>and</strong> pre-fab high-rise buildings.<br />
Unable to live up to their parents expectations, they<br />
have to scale down their st<strong>and</strong>ards <strong>and</strong> re-orientate themselves.<br />
Within the nobility, the male family line is valid. To<br />
belong to noble society, they have to either marry a man<br />
with a title or lead a solitary life.<br />
Countess Alex<strong>and</strong>ra von Bredow lived a fast life of glittering<br />
feasts <strong>and</strong> balls. Currently she lives in a small apartment<br />
<strong>and</strong> earns her livelihood by assembling gemstone<br />
necklaces. At the age of 48, having suffered several setbacks<br />
<strong>and</strong> severe depression, she finally meets the love of<br />
her life.<br />
Baroness Alex<strong>and</strong>ra von Beaulieu-Marconnay, oboist <strong>and</strong><br />
teacher, developed a very close relationship with her<br />
mother after her father died. After moving to another<br />
town, her noble connections benefit her while settling in.<br />
But she is incapable of stepping out of a mighty line of<br />
ancestors in order to lead her own life.<br />
Verena von Zerboni di Sposetti received an elitist education<br />
in a girls’ boarding school, followed by law studies.<br />
World Sales (please contact)<br />
Kings&Queens Filmproduktion · John Quester<br />
Rehmstrasse 29 · 82211 Herrsching/<strong>German</strong>y<br />
phone +49-81 52-9 69 88 48 · email: johnquester@gmx.de<br />
After working as a solicitor <strong>for</strong> more than two years, she<br />
resigned from her profession. The career change had devastating<br />
effects on her social life.<br />
A film depicting three outsiders in the bizarre <strong>and</strong> eccentric<br />
microcosm of <strong>German</strong> nobility.<br />
Genre Tragicomedy Category Documentary Cinema Year of<br />
Production <strong>2008</strong> Director Julia von Heinz Screenplay John<br />
Quester, Julia von Heinz Director of Photography Marcus<br />
Winterbauer Editor Frank Brummundt Music by Matthias<br />
Petsche Producers John Quester, Julia von Heinz Production<br />
Company Kings&Queens Filmproduktion/Hersching, in cooperation<br />
with BR/Munich, SWR/Baden-Baden Length 87 min Format<br />
HD, color, 1:1.85 Original Version <strong>German</strong> Subtitled<br />
Version English Sound Technology Dolby SR, Stereo<br />
Festival Screenings Hof <strong>2008</strong><br />
Julia von Heinz was born in 1976 in Berlin where she studied<br />
Audio Visual Media. She lectures in Film Directing at several universities<br />
<strong>and</strong> is currently working on her PhD. Her award-winning films<br />
include: Doris (short, 2002), Lucie & Vera (short, 2003),<br />
Nothing Else Matters (2007), <strong>and</strong> Noble Commitments<br />
(<strong>2008</strong>).<br />
german films quarterly new german films<br />
4 · <strong>2008</strong> 57<br />
Countess Alex<strong>and</strong>ra von Bredow in “Noble Commitments”<br />
(photo © Kings&Queens Filmproduktion)
U-900<br />
Atze Schroeder knows what makes his customers on the<br />
black market happy. Otherwise, he <strong>and</strong> his buddy Samuel<br />
are keeping a low profile, waiting <strong>for</strong> the Americans to<br />
arrive – it is the year 1944 <strong>and</strong> World War II is not over<br />
yet. But be<strong>for</strong>e things get that far, the two pals get caught<br />
up in a mad adventure with the actress Maria; one that<br />
leaves even big-mouth Atze speechless: the <strong>German</strong>s want<br />
to send their last available submarine, the U-900, on a<br />
secret mission from Toulon to Warnemuende. But when<br />
Atze gets into it with the responsible General, he <strong>and</strong><br />
Samuel <strong>and</strong> Maria have to flee. The trio captures the U-<br />
900 <strong>and</strong> Atze pretends to be the legendary Lieutenant<br />
Comm<strong>and</strong>er Roenberg. Even though he has no clue about<br />
the high seas, Atze wouldn’t be Atze if he didn’t have a solution<br />
to every problem. But the crew gets suspicious<br />
when their comm<strong>and</strong>er starts issuing unconventional<br />
orders …<br />
Genre Comedy Category Feature Film Cinema Year of<br />
Production <strong>2008</strong> Director Sven Unterwaldt Screenplay<br />
Michael Gantenberg, Oliver Ziegenbalg Director of Photography<br />
Stephan Schuh Editor Stefan Essl Music by Karim<br />
Sebastian Elias Production Design Ari Hantke Producers<br />
World Sales<br />
TELEPOOL GmbH · Anja Uecker<br />
Sonnenstrasse 21 · 80331 Munich/<strong>German</strong>y<br />
phone +49-89-55 87 60 · fax +49-89-55 87 62 29<br />
email: cinepool@telepool.de · www.telepool.de<br />
Quirin Berg, Max Wiedemann Production Company<br />
Wiedemann & Berg Film/Munich, in co-production with Andante<br />
Film/Groebenzell, Film & Entertainment VIP Medienfonds/Munich<br />
Principal Cast Atze Schroeder, Oliver K. Wnuk, Yvonne<br />
Catterfeld, Juergen Schornagel, Goetz Otto, Christian Kahrmann,<br />
Maxim Mehmet Casting Die Besetzer/Cologne Special<br />
Effects Harald Ruediger Length 99 min, 2,726 m Format 35<br />
mm, color, cs Original Version <strong>German</strong> Subtitled Version<br />
English Sound Technology Dolby Digital With backing<br />
from FilmFernsehFonds Bayern, <strong>German</strong> Federal Film Fund<br />
(DFFF), Filmfoerderungsanstalt (FFA), Medienboard Berlin-<br />
Br<strong>and</strong>enburg, Malta Film Commission <strong>German</strong> Distributor<br />
Warner Bros. Entertainment/Hamburg<br />
Sven Unterwaldt was born in Luebeck in 1965. A well-known<br />
name in the <strong>German</strong> comedy scene, his films include Antrag vom<br />
Ex (TV, 1999), the TV series Switch (1997-1997), Anke (1999-<br />
2001), Alles Atze (2002), <strong>and</strong> Berlin, Berlin (2002), as well as<br />
the features Wie die Karnickel (2002), 7 Dwarves (7<br />
Zwerge – Maenner allein im Wald, 2004), Siegfried<br />
(2005), 7 Dwarves – The Wood is Not Enough (7<br />
Zwerge – Der Wald ist nicht genug, 2006), <strong>and</strong> U-900<br />
(<strong>2008</strong>).<br />
german films quarterly new german films<br />
4 · <strong>2008</strong> 58<br />
Scene from “U-900” (photo © Wiedemann & Berg Film/Rolf von der Heydt)
Warten auf Angelina<br />
WAITING FOR ANGELINA<br />
Two young men have to spend five days <strong>and</strong> five nights<br />
together on a rooftop in Berlin’s Mitte district to get an<br />
exclusive view of the most famous couple of the universe.<br />
They are as far apart from each other as the Odd Couple,<br />
but they need to get along with each other <strong>for</strong> 120 hours.<br />
One is Maik Tremper, a professional paparazzo with residences<br />
in London <strong>and</strong> Monte Carlo; the other is Momme<br />
Ulmer, a lifeguard <strong>and</strong> film projectionist from a small<br />
isl<strong>and</strong> in the North Sea. Two worlds collide <strong>and</strong> tension<br />
mounts between the hard-nosed photographer <strong>and</strong> the<br />
love-stricken fan. Could this really be the beginning of a<br />
wonderful friendship?<br />
During the course of their 120 hours together, the two<br />
young men accidentally meet six very different women<br />
<strong>and</strong> everything turns out differently than Maik <strong>and</strong><br />
Momme had expected or hoped <strong>for</strong>. They both have<br />
changed by the end of their summer adventure.<br />
Waiting <strong>for</strong> Angelina is a contemporary urban comedy<br />
of manners <strong>and</strong> a satiric look at the current international<br />
celebrity cult <strong>and</strong> the hardships of surviving one week in<br />
Berlin.<br />
Genre Romantic Comedy Category Feature Film Cinema Year<br />
of Production <strong>2008</strong> Director Hans-Christoph Blumenberg<br />
World Sales (please contact)<br />
Feuerl<strong>and</strong> Filmproduktion · Hans-Christoph Blumenberg<br />
Dorotheenstrasse 143 · 22299 Hamburg/<strong>German</strong>y<br />
phone/fax +49-40-4 60 13 34 · email: feuerl<strong>and</strong>film@aol.de<br />
Screenplay Hans-Christoph Blumenberg Director of<br />
Photography Klaus Peter Weber Editor Florentine Bruck<br />
Production Design Hans-Christoph Blumenberg Producer<br />
Hans-Christoph Blumenberg Production Company Feuerl<strong>and</strong><br />
Filmproduktion/Hamburg Principal Cast Florian Lukas, Kostja<br />
Ullmann, Barbara Auer, Anna Brueggemann, Gudrun L<strong>and</strong>grebe,<br />
Leslie Malton, Jana Pallaske, Joerdis Triebel Length 90 min<br />
Format 35 mm, color, 1:1.85 Original Version <strong>German</strong><br />
Sound Technology Dolby SR Festival Screenings Hof<br />
<strong>2008</strong> With backing from Filmfoerderung Hamburg Schleswig-<br />
Holstein <strong>German</strong> Distributor Farbfilm Verleih/Berlin<br />
Hans-Christoph Blumenberg was born in Lychen/Mark<br />
Br<strong>and</strong>enburg in 1947 <strong>and</strong> studied History <strong>and</strong> <strong>German</strong> in Cologne<br />
<strong>and</strong> Washington, D.C. He worked <strong>for</strong> many years as a film critic <strong>for</strong><br />
Die Zeit <strong>and</strong> Koelner Stadt-Anzeiger <strong>and</strong> has written books on<br />
Howard Hawks, Robert Siodmak <strong>and</strong> cinema under the Third<br />
Reich. He also directed 23 documentaries <strong>for</strong> television from 1970-<br />
1982 about cinema. In 1984, he made his feature directorial debut<br />
with Tausend Augen <strong>and</strong> set up the production company<br />
Rotwang Film with Patrick Br<strong>and</strong>t in 1993 <strong>and</strong> his own production<br />
company Feuerl<strong>and</strong> Film in 2007. His other films include: Der<br />
Sommer des Samurai (1986), Operation Madonna (Der<br />
Madonna-Mann, 1987), Rotwang muss weg! (1994),<br />
Beim naechsten Kuss knall ich ihn nieder (1995),<br />
Deutschl<strong>and</strong>spiel (TV, 2000), Hirnschal gegen Hitler (TV,<br />
2000), Planet der Kannibalen (2001), Die letzte<br />
Schlacht (TV, 2004), <strong>and</strong> Waiting <strong>for</strong> Angelina (Warten<br />
auf Angelina, <strong>2008</strong>).<br />
german films quarterly new german films<br />
4 · <strong>2008</strong> 59<br />
Scene from “Waiting <strong>for</strong> Angelina”<br />
(photo © Feuerl<strong>and</strong> Filmproduktion/Barbara Schramm)
Weltstadt<br />
CITY OF THE WORLD<br />
In the night of June 16th 2004, in a picturesque East<br />
<strong>German</strong> town, two drunken teenage boys attacked a<br />
homeless man in the streets. When they realized that he<br />
had no valuables, they bashed him <strong>and</strong> set him on fire.<br />
City of the World portrays five characters, 24 hours prior<br />
to the crime: the drunken teenagers Karsten <strong>and</strong> Till, Till’s<br />
girlfriend Steffi, the policeman Guenter, <strong>and</strong> the snack bar<br />
owner Heinrich. Based on a true story, the film depicts an<br />
aspect of <strong>German</strong> society that is often overlooked. The<br />
media only treats it with lurid headlines <strong>and</strong> fake contempt.<br />
But what is really going on?<br />
Karsten, Till, Steffi, Guenter <strong>and</strong> Heinrich are average<br />
<strong>German</strong>s, living a small-town life, in a state of mediocrity<br />
<strong>and</strong> apathy. But sometimes indifference turns into aggression,<br />
boredom into violence. The film shows an aspect of<br />
small-town banalities, social brutalization <strong>and</strong> a deeply<br />
aggressive youth sub culture.<br />
Genre Drama Category Feature Film Cinema Year of Production<br />
<strong>2008</strong> Director Christian Kl<strong>and</strong>t Screenplay Christian<br />
Kl<strong>and</strong>t Director of Photography René Gorski Editor Joerg<br />
Schreyer Music by Paul Rischer Production Design Tanja<br />
World Sales (please contact)<br />
Hochschule fuer Film & Fernsehen “Konrad Wolf” · Cristina Marx<br />
Marlene-Dietrich-Allee 11 · 14482 Potsdam-Babelsberg/<strong>German</strong>y<br />
phone +49-3 31-6 20 25 64 · fax +49-3 31-6 20 25 69<br />
email: distribution@hff-potsdam.de · www.hff-potsdam.de<br />
Baumgartner Producer Martin Lischke Production Company<br />
Hochschule fuer Film & Fernsehen ’Konrad Wolf ’/Potsdam-<br />
Babelsberg, in co-production with ARTE/Strasbourg Principal<br />
Cast Florian Bartholomaei, Gerdy Zint, Karoline Schuch, Justus<br />
Carriére Length 104 min Format DigiBeta/Betacam SP Blowup<br />
35 mm, color, 1:1.85 Original Version <strong>German</strong> Subtitled<br />
Versions English, <strong>French</strong>, Spanish Sound Technology Dolby<br />
Stereo SR, Dolby Digital Festival Screenings Achtung Berlin<br />
<strong>2008</strong>, Montreal <strong>2008</strong> (In Competition), Ourense <strong>2008</strong> (In<br />
Competition) Awards Best Editing & Best Film Achtung Berlin<br />
<strong>2008</strong>, Silver Zenith Montreal <strong>2008</strong><br />
Christian Kl<strong>and</strong>t was born in 1978 in Frankfurt/Oder <strong>and</strong> grew<br />
up in Br<strong>and</strong>enburg. Be<strong>for</strong>e beginning his studies at the Film &<br />
Television Academy (HFF) “Konrad Wolf ”, he worked as an assistant<br />
director, camera assistant <strong>and</strong> production assistant <strong>for</strong> various<br />
cinema, television <strong>and</strong> theater projects. In 2001 he founded the production<br />
company nttcfilm Prod. A selection of his films includes:<br />
PIX (short, 2003), Senses & Expiation (silent short, 2005),<br />
The Last Dance (short, 2005), Infinity Loop (short, 2006),<br />
The Cleaner (documentary, 2006), Last Escort (documentary,<br />
2006), Bad Life (short, 2007), Schaustein’s Final Film<br />
(<strong>2008</strong>), <strong>and</strong> City of the World (<strong>2008</strong>).<br />
german films quarterly new german films<br />
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Scene from “City of the World” (photo © René Gorski/HFF Potsdam)
Zweier ohne<br />
COXLESS PAIR<br />
The film tells the story of the friendship between Johann<br />
<strong>and</strong> Ludwig as they strive <strong>for</strong> the ultimate “buddy”<br />
relationship. Going beyond, well beyond, what would be<br />
considered good <strong>and</strong> healthy, the pair attempt to become<br />
the ideal twins, driving their relationship based on their<br />
partnership in competitive rowing (coxless pairs) to the<br />
ultimate: to perfect harmony in mind, word, thought <strong>and</strong><br />
deed.<br />
But their symbiotic relationship is thrown out of balance:<br />
Ludwig strives to tighten the bonds ever closer, but Johann<br />
discovers happiness in the <strong>for</strong>m of love <strong>for</strong> Ludwig’s sister,<br />
Vera. But because Ludwig hates her, the couple keeps<br />
their relationship secret. But secrets have a way of coming<br />
out <strong>and</strong> Ludwig is wounded to the core. As the finals of<br />
the rowing competition draw closer, Ludwig has already<br />
set his sights on a greater goal: to preserve their friendship<br />
<strong>for</strong>ever, no longer in life, but in death.<br />
Genre Drama Category Feature Film Cinema Year of Production<br />
<strong>2008</strong> Director Jobst Christian Oetzmann Screenplay<br />
Jobst Christian Oetzmann Director of Photography Tomas<br />
Erhart Editor Cosima Schnell Music by Dieter Schleip Pro-<br />
World Sales<br />
Media Luna Entertainment GmbH & Co. KG · Ida Martins<br />
Aachener Strasse 26 · 50674 Cologne/<strong>German</strong>y<br />
phone +49-2 21-8 01 49 80 · fax +49-2 21-80 14 98 21<br />
email: info@medialuna-entertainment.de · www.medialuna-entertainment.de<br />
duction Design Peter Menne Producer Joachim Ortmanns<br />
Production Company Lichtblick Film- & Fernsehproduktion/<br />
Cologne, in co-production with Filmpool Film- & Fernsehproduktion/Cologne<br />
Principal Cast Tino Mewes, Jacob Matschenz,<br />
Sophie Rogall, Peter Harting, Lena Stolze, Alex<strong>and</strong>ra Schalaudeck,<br />
Nora Quest Casting Maria Schwarz, Susanne Ritter Length 93<br />
min, 2,500 m Format 35 mm, color, cs Original Version<br />
<strong>German</strong> Subtitled Version English Sound Technology<br />
Dolby Digital With backing from <strong>Films</strong>tiftung NRW, <strong>German</strong><br />
Federal Film Fund (DFFF), Hessen Invest <strong>German</strong> Distributor<br />
Stardust Filmverleih/Munich<br />
Jobst Christian Oetzmann was born in Hanover <strong>and</strong> studied<br />
drama at the University of Television & Film in Munich. His first film,<br />
Der Condor opened the Turin Film Festival in 1988. Since then he<br />
has made a name <strong>for</strong> himself primarily as a director of television<br />
crime movies, including episodes of SOKO 5133 (1994) <strong>and</strong> the pilot<br />
to the series SK-Babies (1995). A year later he directed Der Neue,<br />
the pilot <strong>for</strong> the crime series Kommissare Suedwest, <strong>for</strong> which he also<br />
directed numerous episodes. His features include: The Loneliness<br />
of the Crocodiles (Die Einsamkeit der Krokodile,<br />
2000) <strong>and</strong> Coxless Pair (Zweier ohne, <strong>2008</strong>).<br />
german films quarterly new german films<br />
4 · <strong>2008</strong> 61<br />
Scene from “Coxless Pair” (photo © Lichtblick Film/Uwe Stratmann)
Das deutsch-französische Filmtreffen<br />
Les Rendez-vous franco-allem<strong>and</strong>s du cinéma<br />
Académie franco-allem<strong>and</strong>e du cinéma · Deutsch-französische Filmakademie<br />
A <strong>Meeting</strong> <strong>for</strong> <strong>German</strong><br />
<strong>and</strong> <strong>French</strong> <strong>Filmmakers</strong>,<br />
Producers, Distributors,<br />
Exhibitors<br />
Hamburg<br />
20 – 22 November<br />
<strong>2008</strong><br />
<strong>French</strong> contact: contact@das-rendez-vous.org<br />
<strong>German</strong> contact: filmtreffen@german-films.de<br />
photos: Hamburg Marketing Medienserver
GERMAN FILMS<br />
SHAREHOLDERS & SUPPORTERS<br />
Arbeitsgemeinschaft<br />
Neuer Deutscher Spielfilmproduzenten e.V.<br />
Association of New Feature Film Producers<br />
Zentnerstrasse 42, 80796 Munich/<strong>German</strong>y<br />
phone +49-89-2 71 74 30, fax +49-89-27 77 71 77<br />
email: mail@ag-spielfilm.de, www.ag-spielfilm.de<br />
Filmfoerderungsanstalt<br />
<strong>German</strong> Federal Film Board<br />
Grosse Praesidentenstrasse 9, 10178 Berlin/<strong>German</strong>y<br />
phone +49-30-27 57 70, fax +49-30-27 57 71 11<br />
email: presse@ffa.de, www.ffa.de<br />
Verb<strong>and</strong> Deutscher Filmexporteure e.V. (VDFE)<br />
Association of <strong>German</strong> Film Exporters<br />
Tegernseer L<strong>and</strong>strasse 75, 81539 Munich/<strong>German</strong>y<br />
phone +49- 89-6 42 49 70, fax +49-89-6 92 09 10<br />
email: mail@vdfe.de, www.vdfe.de<br />
Verb<strong>and</strong> Deutscher Filmproduzenten e.V.<br />
Association of <strong>German</strong> Feature Film Producers<br />
Muenchner Freiheit 20, 80802 Munich/<strong>German</strong>y<br />
phone +49-89-33 08 80 31, fax +49-89-33 08 81 93<br />
email: mail@filmproduzentenverb<strong>and</strong>.de<br />
www.filmproduzentenverb<strong>and</strong>.de<br />
Bundesverb<strong>and</strong> Deutscher Fernsehproduzenten e.V.<br />
Association of <strong>German</strong> Television Producers<br />
Brienner Strasse 26, 80333 Munich/<strong>German</strong>y<br />
phone +49-89-28 62 83 85, fax +49-89-28 62 82 47<br />
email: post@tv-produzenten.de, www.tv-produzenten.de<br />
Deutsche Kinemathek<br />
Museum fuer Film und Fernsehen<br />
Potsdamer Strasse 2, 10785 Berlin/<strong>German</strong>y<br />
phone +49-30-30 09 03-0, fax +49-30-30 09 03-13<br />
email: info@deutsche-kinemathek.de, www.deutsche-kinemathek.de<br />
Arbeitsgemeinschaft Dokumentarfilm e.V.<br />
<strong>German</strong> Documentary Association<br />
Schweizer Strasse 6, 60594 Frankfurt am Main/<strong>German</strong>y<br />
phone +49-69-62 37 00, fax +49-61 42-96 64 24<br />
email: agdok@agdok.de, www.agdok.de<br />
Arbeitsgemeinschaft Kurzfilm e.V.<br />
<strong>German</strong> Short Film Association<br />
Foerstereistrasse 36, 01099 Dresden/<strong>German</strong>y<br />
phone +49-3 51-4 04 55 75, fax +49-3 51-4 04 55 76<br />
email: info@ag-kurzfilm.de, www.ag-kurzfilm.de<br />
Der Beauftragte der Bundesregierung<br />
fuer Kultur und Medien<br />
Federal Government Commissioner<br />
<strong>for</strong> Culture & the Media<br />
Referat K 35, Europahaus, Stresemannstrasse 94,<br />
10963 Berlin/<strong>German</strong>y<br />
phone +49-18 88-6 81 49 29, fax +49-18 88-68 15 49 29<br />
email: K35@bkm.bmi.bund.de<br />
FilmFernsehFonds Bayern GmbH<br />
Gesellschaft zur Foerderung der Medien<br />
in Bayern<br />
Sonnenstrasse 21, 80331 Munich/<strong>German</strong>y<br />
phone +49-89-54 46 02-0, fax +49-89-54 46 02 21<br />
email: filmfoerderung@fff-bayern.de, www.fff-bayern.de<br />
Filmfoerderung Hamburg Schleswig-Holstein GmbH<br />
Friedensallee 14–16, 22765 Hamburg/<strong>German</strong>y<br />
phone +49-40-398 37-0 fax +49-40-398 37-10<br />
email: info@ffhsh.de, www.ffhsh.de<br />
<strong>Films</strong>tiftung Nordrhein-Westfalen GmbH<br />
Kaistrasse 14, 40221 Duesseldorf/<strong>German</strong>y<br />
phone +49-2 11-93 05 00, fax +49-2 11-93 05 05<br />
email: info@filmstiftung.de, www.filmstiftung.de<br />
Medienboard Berlin-Br<strong>and</strong>enburg GmbH<br />
August-Bebel-Strasse 26-53, 14482 Potsdam-Babelsberg/<strong>German</strong>y<br />
phone +49-3 31-74 38 70, fax +49-3 31-7 43 87 99<br />
email: info@medienboard.de, www.medienboard.de<br />
MFG Medien- und Filmgesellschaft<br />
Baden-Wuerttemberg mbH<br />
Breitscheidstrasse 4, 70174 Stuttgart/<strong>German</strong>y<br />
phone +49-7 11-90 71 54 00, fax +49-7 11-90 71 54 50<br />
email: filmfoerderung@mfg.de, www.mfg-filmfoerderung.de<br />
Mitteldeutsche Medienfoerderung GmbH<br />
Hainstrasse 17-19, 04109 Leipzig/<strong>German</strong>y<br />
phone +49-3 41-26 98 70, fax +49-3 41-2 69 87 65<br />
email: info@mdm-online.de, www.mdm-online.de<br />
nordmedia – Die Mediengesellschaft<br />
Niedersachsen/Bremen mbH<br />
Expo Plaza 1, 30539 Hanover/<strong>German</strong>y<br />
phone +49-5 11-1 23 45 60, fax +49-5 11-12 34 56 29<br />
email: info@nordmedia.de, www.nordmedia.de<br />
german films quarterly shareholders & supporters<br />
4 · <strong>2008</strong> 63
<strong>German</strong> Entry <strong>for</strong> the 81st Academy Awards<br />
in the category “Best Foreign Language Film”
ASSOCIATION OF GERMAN FILM EXPORTERS<br />
Verb<strong>and</strong> deutscher Filmexporteure e.V. (VDFE) · please contact Lothar Wedel<br />
Tegernseer L<strong>and</strong>strasse 75 · 81539 Munich/<strong>German</strong>y<br />
phone +49-89-6 42 49 70 · fax +49-89-6 92 09 10 · email: mail@vdfe.de · www.vdfe.de<br />
Action Concept Film- &<br />
Stuntproduktion GmbH<br />
please contact Wolfgang Wilke<br />
An der Hasenkaule 1-7<br />
50354 Huerth/<strong>German</strong>y<br />
phone +49-22 33-50 81 00<br />
fax +49-22 33-50 81 80<br />
email: wolfgang.wilke@actionconcept.com<br />
www.actionconcept.com<br />
ARRI Media Worldsales<br />
please contact Antonio Exacoustos<br />
Tuerkenstrasse 89<br />
80799 Munich/<strong>German</strong>y<br />
phone +49-89-38 09 12 88<br />
fax +49-89-38 09 16 19<br />
email: aexacoustos@arri.de<br />
www.arri-mediaworldsales.de<br />
Atlas International Film GmbH<br />
please contact<br />
Philipp Menz, Susanne Groh, Dieter Menz<br />
C<strong>and</strong>idplatz 11<br />
81543 Munich/<strong>German</strong>y<br />
phone +49-89-21 09 75-0<br />
fax +49-89-21 09 75 81<br />
email: mail@atlasfilm.com<br />
www.atlasfilm.com<br />
ATRIX <strong>Films</strong> GmbH<br />
please contact Beatrix Wesle,<br />
Solveig Langel<strong>and</strong><br />
Aggensteinstrasse 13a<br />
81545 Munich/<strong>German</strong>y<br />
phone +49-89-64 28 26 11<br />
fax +49-89-64 95 73 49<br />
email: atrixfilms@gmx.net<br />
www.atrix-films.com<br />
Bavaria Film International<br />
Dept. of Bavaria Media GmbH<br />
please contact Thorsten Ritter<br />
Bavariafilmplatz 7<br />
82031 Geiselgasteig/<strong>German</strong>y<br />
phone +49-89-64 99 26 86<br />
fax +49-89-64 99 37 20<br />
email: international@bavaria-film.de<br />
www.bavaria-film-international.com<br />
Beta Cinema<br />
Dept. of Beta Film GmbH<br />
please contact Andreas Rothbauer<br />
Gruenwalder Weg 28d<br />
82041 Oberhaching/<strong>German</strong>y<br />
phone +49-89-67 34 69 80<br />
fax +49-89-6 73 46 98 88<br />
email: ARothbauer@betacinema.com<br />
www.betacinema.com<br />
cine aktuell Filmgesellschaft mbH<br />
please contact Ralf Faust, Axel Schaarschmidt<br />
Werdenfelsstrasse 81<br />
81377 Munich/<strong>German</strong>y<br />
phone +49-89-7 41 34 30<br />
fax +49-89-74 13 43 16<br />
email: mail@cine-aktuell.de<br />
www.cine-aktuell.de<br />
EEAP Eastern European<br />
Acquisition Pool GmbH<br />
please contact Alex<strong>and</strong>er van Duelmen<br />
Alex<strong>and</strong>erstrasse 7<br />
10178 Berlin/<strong>German</strong>y<br />
phone +49-30-25 76 23 30<br />
fax +49-30-25 76 23 59<br />
email: info@eeap.de<br />
www.eeap.eu<br />
Exportfilm Bischoff & Co. GmbH<br />
please contact Jochem Strate,<br />
Philip Evenkamp<br />
Isabellastrasse 20, 80798 Munich/<strong>German</strong>y<br />
phone +49-89-2 72 93 60<br />
fax +49-89-27 29 36 36<br />
email: exportfilms@exportfilm.de<br />
www.exportfilm.de<br />
german united distributors<br />
Programmvertrieb GmbH<br />
please contact Silke Spahr<br />
Breite Strasse 48-50<br />
50667 Cologne/<strong>German</strong>y<br />
phone +49-2 21-92 06 90<br />
fax +49-2 21-9 20 69 69<br />
email: silke.spahr@germanunited.com<br />
www.germanunited.com<br />
Kinowelt International GmbH<br />
Futura Film Weltvertrieb<br />
im Filmverlag der Autoren GmbH<br />
please contact Stelios Ziannis<br />
Karl-Tauchnitz-Strasse 10<br />
04107 Leipzig/<strong>German</strong>y<br />
phone +49-3 41-35 59 60<br />
fax +49-3 41-35 59 64 19<br />
email: sziannis@kinowelt.de<br />
www.kinowelt-international.de<br />
Media Luna Entertainment<br />
GmbH & Co.KG<br />
please contact Ida Martins<br />
Aachener Strasse 26<br />
50674 Cologne/<strong>German</strong>y<br />
phone +49-2 21-8 01 49 80<br />
fax +49-2 21-80 14 98 21<br />
email: info@medialuna-entertainment.de<br />
www.medialuna-entertainment.de<br />
Progress Film-Verleih GmbH<br />
please contact Christel Jansen<br />
Immanuelkirchstrasse 14b<br />
10405 Berlin/<strong>German</strong>y<br />
phone +49-30-24 00 32 25<br />
fax +49-30-24 00 32 22<br />
email: c.jansen@progress-film.de<br />
www.progress-film.de<br />
SOLA Media GmbH<br />
please contact Solveig Langel<strong>and</strong><br />
Osumstrasse 17, 70599 Stuttgart/<strong>German</strong>y<br />
phone +49-7 11-4 79 36 66<br />
fax +49-7 11-4 79 26 58<br />
email: post@sola-media.net<br />
www.sola-media.net<br />
TELEPOOL GmbH<br />
please contact Anja Uecker<br />
Sonnenstrasse 21, 80331 Munich/<strong>German</strong>y<br />
phone +49-89-55 87 60<br />
fax +49-89-55 87 62 29<br />
email: cinepool@telepool.de<br />
www.telepool.de<br />
Transit Film GmbH<br />
please contact Loy W. Arnold, Mark Gruenthal<br />
Dachauer Strasse 35<br />
80335 Munich/<strong>German</strong>y<br />
phone +49-89-59 98 85-0<br />
fax +49-89-59 98 85-20<br />
email: loy.arnold@transitfilm.de,<br />
mark.gruenthal@transitfilm.de<br />
www.transitfilm.de<br />
uni media film gmbh<br />
please contact Michael Waldleitner<br />
Bavariafilmplatz 7<br />
82031 Geiselgasteig/<strong>German</strong>y<br />
phone +49-89-59 58 46<br />
fax +49-89-54 50 70 52<br />
email: info@unimediafilm.com<br />
www.unimediafilm.com<br />
german films quarterly association of german film exporters<br />
4 · <strong>2008</strong> 65
GERMAN FILMS: A PROFILE<br />
<strong>German</strong> <strong>Films</strong> Service + Marketing is the national in<strong>for</strong>mation<br />
<strong>and</strong> advisory center <strong>for</strong> the promotion of <strong>German</strong> films worldwide.<br />
It was established in 1954 under the name Export-Union of<br />
<strong>German</strong> Cinema as the umbrella association <strong>for</strong> the Association of<br />
<strong>German</strong> Feature Film Producers, since 1966 the Association of New<br />
<strong>German</strong> Feature Film Producers <strong>and</strong> the Association of <strong>German</strong> Film<br />
Exporters, <strong>and</strong> operates today in the legal <strong>for</strong>m of a limited company.<br />
In 2004, new shareholders came on board the Export-Union which<br />
since then continues operations under its present name: <strong>German</strong><br />
<strong>Films</strong> Service + Marketing GmbH.<br />
Shareholders are the Association of <strong>German</strong> Feature Film<br />
Producers, the Association of New <strong>German</strong> Feature Film Producers,<br />
the Association of <strong>German</strong> Film Exporters, the <strong>German</strong> Federal Film<br />
Board (FFA), the Association of <strong>German</strong> Television Producers, the<br />
Stiftung Deutsche Kinemathek, the <strong>German</strong> Documentary<br />
Association, FilmFernsehFonds Bayern <strong>and</strong> <strong>Films</strong>tiftung NRW representing<br />
the seven main regional film funds, <strong>and</strong> the <strong>German</strong> Short<br />
Film Association.<br />
Members of the advisory board are: Alfred Huermer (chairman),<br />
Peter Dinges, Antonio Exacoustos, Dr. Klaus Schaefer, Ulrike Schauz,<br />
<strong>and</strong> Michael Weber.<br />
<strong>German</strong> <strong>Films</strong> itself has 14 members of staff:<br />
Christian Dorsch, managing director<br />
Mariette Rissenbeek, public relations/deputy managing director<br />
Petra Bader, office manager<br />
S<strong>and</strong>ra Buchta, project coordinator/documentary film<br />
Christin Czarnecki, trainee<br />
Simon Goehler, trainee<br />
Christine Harrasser, managing director’s assistant/project coordinator<br />
Angela Hawkins, publications & website editor<br />
Barbie Heusinger, project coordinator/distribution support<br />
Nicole Kaufmann, project coordinator<br />
Michaela Kowal, accounts<br />
Kim Liebeck, PR assistant/festival coordinator<br />
Martin Scheuring, project coordinator/short film<br />
Konstanze Welz, project coordinator/television<br />
In addition, <strong>German</strong> <strong>Films</strong> has nine <strong>for</strong>eign representatives in eight<br />
countries.<br />
<strong>German</strong> <strong>Films</strong>’ budget of presently €5.4 million comes from film<br />
export levies, the office of the Federal Government Commissioner<br />
<strong>for</strong> Culture <strong>and</strong> the Media, <strong>and</strong> the FFA. The seven main regional film<br />
funds (FilmFernsehFonds Bayern, Filmfoerderung Hamburg Schleswig-<br />
Holstein, <strong>Films</strong>tiftung NRW, Medienboard Berlin-Br<strong>and</strong>enburg, MFG<br />
Baden-Wuerttemberg, Mitteldeutsche Medienfoerderung, <strong>and</strong> Nordmedia)<br />
make a financial contribution – currently amounting to<br />
€343,000 – towards the work of <strong>German</strong> <strong>Films</strong>.<br />
<strong>German</strong> <strong>Films</strong> is a founding member of the European Film Promotion,<br />
a network of European film organizations (including Unifrance, Swiss<br />
<strong>Films</strong>, Austrian Film Commission, Holl<strong>and</strong> Film, among others) with<br />
similar responsibilities to those of <strong>German</strong> <strong>Films</strong>. The organization,<br />
with its headquarters in Hamburg, aims to develop <strong>and</strong> realize joint<br />
projects <strong>for</strong> the presentation of European films on an international<br />
level.<br />
<strong>German</strong> <strong>Films</strong>’ range of activities includes:<br />
Close cooperation with major international film festivals, including<br />
Berlin, Cannes, Venice, Toronto, Locarno, San<br />
Sebastian, Montreal, Karlovy Vary, Moscow, Nyon, Shanghai,<br />
Rotterdam, San Francisco, Sydney, Gothenburg, Warsaw,<br />
Thessaloniki, Rome, <strong>and</strong> Turin, among others<br />
Organization of umbrella st<strong>and</strong>s <strong>for</strong> <strong>German</strong> sales companies<br />
<strong>and</strong> producers at international television <strong>and</strong> film markets<br />
(Berlin, Cannes, AFM Los Angeles, Hong Kong, Shanghai)<br />
Staging of ”Festivals of <strong>German</strong> <strong>Films</strong>“ worldwide (Madrid,<br />
Paris, London, New York, Buenos Aires, Moscow, Copenhagen,<br />
Stockholm, Tokyo, Sydney, Melbourne)<br />
Staging of the ”<strong>German</strong> Premieres“ industry screenings in New<br />
York <strong>and</strong> Rome<br />
Providing advice <strong>and</strong> in<strong>for</strong>mation <strong>for</strong> representatives of the<br />
international press <strong>and</strong> buyers from the fields of cinema, video,<br />
<strong>and</strong> television<br />
Providing advice <strong>and</strong> in<strong>for</strong>mation <strong>for</strong> <strong>German</strong> filmmakers <strong>and</strong><br />
press on international festivals, conditions of participation, <strong>and</strong><br />
<strong>German</strong> films being shown<br />
Organization of the annual NEXT GENERATION short film<br />
program, which presents a selection of shorts by students of<br />
<strong>German</strong> film schools <strong>and</strong> is premiered every year at Cannes<br />
Publication of in<strong>for</strong>mational literature about current <strong>German</strong><br />
films <strong>and</strong> the <strong>German</strong> film industry (<strong>German</strong> <strong>Films</strong> Quarterly),<br />
as well as international market analyses <strong>and</strong> special festival<br />
brochures<br />
An Internet website (www.german-films.de) offering in<strong>for</strong>mation<br />
about new <strong>German</strong> films, a film archive, as well as in<strong>for</strong>mation<br />
<strong>and</strong> links to <strong>German</strong> <strong>and</strong> international film festivals<br />
<strong>and</strong> institutions<br />
Organization of the selection procedure <strong>for</strong> the <strong>German</strong> entry<br />
<strong>for</strong> the Oscar ® <strong>for</strong> Best Foreign Language Film<br />
Collaboration with Deutsche Welle’s DW-TV KINO program<br />
which features the latest <strong>German</strong> film releases <strong>and</strong> international<br />
productions in <strong>German</strong>y<br />
Organization of the ”<strong>German</strong> <strong>Films</strong> Previews“ geared toward<br />
arthouse distributors <strong>and</strong> buyers of <strong>German</strong> films<br />
Selective financial Distribution Support <strong>for</strong> the <strong>for</strong>eign releases<br />
of <strong>German</strong> films<br />
Together with Unifrance, organization of the annual <strong>German</strong>-<br />
<strong>French</strong> film meeting<br />
In association <strong>and</strong> cooperation with its shareholders, <strong>German</strong> <strong>Films</strong><br />
works to promote feature, documentary, television <strong>and</strong> short films.<br />
german films quarterly german films: a profile<br />
4 · <strong>2008</strong> 66
FOREIGN REPRESENTATIVES IMPRINT<br />
Argentina<br />
Gustav Wilhelmi<br />
Ayacucho 495, 2º ”3“<br />
C1026AAA Buenos Aires/Argentina<br />
phone +54-11-49 52 15 37<br />
phone/fax +54-11-49 51 19 10<br />
email: wilhelmi@german-films.de<br />
China<br />
Anke Redl<br />
CMM Intelligence<br />
B 621, Gehua Tower<br />
No. 1, Qinglong Hutong<br />
Dongcheng District<br />
Beijing 100007/China<br />
phone +86-10-84 18 64 68<br />
fax +86-10-84 18 66 90<br />
email: redl@german-films.de<br />
Eastern Europe<br />
Simone Baumann<br />
L.E. Vision Film- und<br />
Fernsehproduktion GmbH<br />
Koernerstrasse 56<br />
04107 Leipzig/<strong>German</strong>y<br />
phone +49-3 41-96 36 80<br />
fax +49-3 41-9 63 68 44<br />
email: baumann@german-films.de<br />
<strong>German</strong> <strong>Films</strong> Quarterly is published by:<br />
<strong>German</strong> <strong>Films</strong><br />
Service + Marketing GmbH<br />
Herzog-Wilhelm-Strasse 16<br />
80331 Munich/<strong>German</strong>y<br />
phone +49-89-5 99 78 70<br />
fax +49-89-59 97 87 30<br />
email: info@german-films.de<br />
www.german-films.de<br />
ISSN 1614-6387<br />
Credits are not contractual <strong>for</strong> any<br />
of the films mentioned in this publication.<br />
© <strong>German</strong> <strong>Films</strong> Service + Marketing GmbH<br />
All rights reserved. No reproduction, copy or transmission of<br />
this publication may be made without written permission.<br />
Italy<br />
Alessia Ratzenberger<br />
A-PICTURES<br />
Villa Pamphili<br />
Via del Forte Bravetta 4<br />
00164 Rome/Italy<br />
phone +39-06-48 90 70 75<br />
fax +39-06-4 88 57 97<br />
email: ratzenberger@german-films.de<br />
Japan<br />
Tomosuke Suzuki<br />
Nippon Cine TV Corporation<br />
Suite 123, Gaien House<br />
2-2-39 Jingumae, Shibuya-Ku<br />
150-0001 Tokyo/Japan<br />
phone +81-3-34 05 09 16<br />
fax +81-3-34 79 08 69<br />
email: suzuki@german-films.de<br />
Spain<br />
Stefan Schmitz<br />
Avalon Productions S.L.<br />
Pza. del Cordón, 2<br />
28005 Madrid/Spain<br />
phone +34-91-3 66 43 64<br />
fax +34-91-3 65 93 01<br />
email: schmitz@german-films.de<br />
Editor<br />
Production Reports<br />
Contributors <strong>for</strong> this issue<br />
Translations<br />
Design & Art Direction<br />
Printing Office<br />
Cover Photo<br />
United Kingdom<br />
Iris Ordonez<br />
37 Arnison Road<br />
East Molesey KT8 9JR/Great Britain<br />
phone +44-20-89 79 86 28<br />
email: ordonez@german-films.de<br />
USA/East Coast & Canada<br />
Oliver Mahrdt<br />
Hanns Wolters International Inc.<br />
211 E 43 rd Street, #505<br />
New York, NY 10017/USA<br />
phone +1-212-714 0100<br />
fax +1-212-643 1412<br />
email: mahrdt@german-films.de<br />
USA/West Coast<br />
Corina Danckwerts<br />
Capture Film International<br />
Hollywood Center Studios, Building 5/Loft<br />
1040 N. Las Palmas Avenue<br />
Los Angeles, CA 90038/USA<br />
phone +1-323-860 5440<br />
fax +1-323-860 5441<br />
email: danckwerts@german-films.de<br />
Angela Hawkins<br />
Martin Blaney, Simon Kingsley<br />
Martin Blaney, Johannes Bohnke, Christoph Groener<br />
Lucinda Rennison<br />
Werner Schauer, www.triptychon.biz<br />
ESTA DRUCK GMBH,<br />
Obermuehlstrasse 90, 82398 Polling/<strong>German</strong>y<br />
Printed on ecological, unchlorinated paper.<br />
Scene from “Long Shadows”<br />
(photo © Olaf Aue)<br />
german films quarterly <strong>for</strong>eign representatives · imprint<br />
4 · <strong>2008</strong> 67
LOOKING<br />
FORWARD TO<br />
SEEING YOU<br />
IN BERLIN<br />
05.-15.02.09<br />
www.berlinale.de