Titel Kino 2/2002 - german films

Titel Kino 2/2002 - german films

Titel Kino 2/2002 - german films


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Charles Esten in Wim Wender’s episode of ”Ten Minutes Older“

(an Odyssey Film London, Matador Pictures & Road Movies Production)






in Competition


by Alexander Sokurov

in Un Certain Regard


by Werner Herzog,

Wim Wenders, et al


… and the nominees are …


Animation –

Made in Germany



German Films IN THE

in Competition

The Man

Without a Past


by Aki Kaurismaeki

German co-producer: Pandora Film,


phone +49-2 21-97 33 20

fax +49-2 21-97 33 29

World Sales: Bavaria Film International,


phone +49-89-64 99 26 86

fax +49-89-64 99 37 20

in Competition

The Pianist

(Germany/France/Poland/United Kingdom)

by Roman Polanski

German co-producer:

Studio Babelsberg, Potsdam/Germany

phone +49-3 31-7 21 30 01

fax +49-3 31-7 21 25 25

in Competition

Sweet Sixteen

(United Kingdom/Germany/Spain)

by Ken Loach

German co-producer:

Road Movies, Berlin/Germany

phone +49-30-8 80 48 60

fax +49-30-88 04 86 11

in Competition

Russian Ark


by Alexander Sokurov

World Sales:

Celluloid Dreams, Paris/France

phone +33-1-49 70 03 70

fax +33-1-49 70 03 71


Cannes Festival

in Un Certain Regard


Minutes Older

by By Aki Kaurismaeki,

Víctor Erice, Werner Herzog,

Jim Jarmusch, Wim Wenders,

Spike Lee, Chen Kaige, et al

World Sales: Road Sales,


phone +49-30-8 80 48 60

fax +49-30-88 04 86 11

in Directors’ Fortnight



by Werner Schroeter

German co-producer:

Road Movies, Berlin/Germany

phone +49-30-8 80 48 60

fax +49-30-88 04 86 11

in Directors’ Fortnight / En avant !


by Matthias Mueller

World Sales: Matthias Mueller,


phone/fax +49-5 21-17 83 67

(Credits not contractual)

K I N O 2/2002

6 Animation – Made in Germany

On the History and Current Situation of

Animation Films in Germany

16 The Unbearable Lightness of Film

Director’s Portrait Andreas Dresen

17 ”I’m Interested in People Who

Cross Over Boundaries“

Director’s Portrait Elfi Mikesch

20 Cinepool’s Dream Team

World Sales Portrait Cinepool

22 Creating a Quality Brand

Producers’ Portrait MTM Medien &

Television Muenchen

24 KINO news

30 In Production

30 Der alte Affe Angst

Oskar Roehler

30 Das fliegende Klassenzimmer

Tomy Wigand

31 Gate to Heaven

Veit Helmer

32 Gruesse aus Dachau!

Bernd Fischer

32 Das Jesus Video

Sebastian Niemann

33 Der Laufbursche

Yueksel Yavuz

34 Nach Haus in die Fremde

Andreas Kleinert

34 Olgas Sommer

Nina Grosse

35 Die Paepstin

Volker Schloendorff

36 SimsalaGrimm – The Movie

Gerhard Hahn

36 Die Suenderin

Sherry Hormann

37 Sugar Orange

Andreas Struck

38 The 100 Most

Significant German Films (Part 5)

38 Liebelei

Max Ophuels

39 Wintergartenprogramm

Max Skladanowsky

40 Lola Montez

Max Ophuels

41 Madame Dubarry


Ernst Lubitsch













42 New German Films

42 Anansi


Fritz Baumann

43 Annas Sommer


Jeanine Meerapfel

44 Berlin – Sinfonie

einer Grossstadt


Thomas Schadt

45 Die Datsche


Carsten Fiebeler

46 Dream Dream Dream

Anne Alix

47 Gold Cuts – eine poetische

Reise durch die Gegensaetze



Ernst Handl, Team Gold Cuts

48 Grosse Maedchen weinen nicht


Maria von Heland

49 Herz im Kopf


Michael Gutmann

50 Nichts Bereuen






Benjamin Quabeck

51 Poem – ”Ich setzte den Fuss

in die Luft, und sie trug“


Ralf Schmerberg

52 Ein Produzent hat Seele

oder er hat keine

Volker Schloendorff

53 Russian Ark

Alexander Sokurov

54 Sternzeichen


Peter Patzak

55 Suche impotenten Mann

fuers Leben


John Henderson

56 Ten Minutes Older

Werner Herzog, Wim Wenders, et al

57 Verrueckt nach Paris


Pago Balke, Eike Besuden

58 Westend

Markus Mischkowski, Kai Maria Steinkuehler

62 Film Exporters

66 Foreign Representatives

66 Imprint

”Ring of Fire“ by Andreas Hykade

Key European Market

If one wanted proof that the German animation industry has

become a force to be reckoned with in Europe, this was

convincingly delivered last year when two of the industry’s

top international events – March’s CARTOON Movie and

September’s CARTOON Forum – were both staged in


In fact, it was the third time that the CARTOON Movie

co-production market had assembled at the Babelsberg Studios

(returning for a fourth time this spring). And the Bavarian

alpine town of Garmisch-Partenkirchen was the latest stop in

CARTOON Forum’s trail across Europe, which brought

more than 700 delegates together for the pitching of projects for

animated TV series and web-based productions.

The significance of the German animation sector was also brought

out by the fact that 240 of the delegates accredited at the Forum

were from Germany, including 60 potential investors, with

German animation production outfits involved as lead producer in

18 of the market’s 88 projects.

While France is still the leading center for the production of animation

in Europe, Germany has now developed in a matter of

only a few years into the second largest European market, with

production said to be worth US$130 million annually and new

animation studios popping up in some corner of the country

every month.

Long Tradition in Animation

However, before we look at the current situation of the animation

industry in Germany, let’s have a brief glance back at some of

the past highlights in German animation.

Going back to the days of the silent movies, before the First

World War, the first German animation films were made by

Julius Pinschewer (Corsets Gebr. Lewandowski, 1910)

and Guido Seeber (Die geheimnisvolle Streichholzdose,


In the 1920s, their involvement in abstract and dadaist art attracted

Walther Ruttmann (Der Sieger, 1921) and Hans

Richter (Rhythmus series, 1921-1925) to make outings into

animation, but a unique figure from this time who built up an

unchallenged international reputation was the animator Lotte


Reiniger, who became famous for her silhouette films created

from back-lit paper cut-outs.

She made her first animation film in 1919 (The Ornament of

the Lovestruck Heart/Das Ornament des verliebten

Herzens) and animated a dream sequence for Fritz Lang’s

1924 epic Die Nibelungen, which was widely screened despite

being removed from the completed version of the film. Reiniger’s

classic The Adventures of Prince Achmed (Die

Abenteuer des Prinzen Achmed, 1926) – which was

credited by some as being the first feature-length animation film –

consisted of 250,000 single images and had a ”multi-plane“ camera

specially designed and built for the production.

In addition to shooting experimental shorts and silhouette films

from the late 20s to the mid 1930s, Reiniger also contributed silhouette

sequences for such live-action features as Georg

Wilhelm Pabst’s Don Quixote (Don Quichotte, 1933)

and Jean Renoir’s La Marseillaise (1937). In 1936,

Reiniger emigrated with her husband to Great Britain where she

lived and worked (Hansel & Gretel, 1955) – among other

things, for the Crown Film Unit and General Post Office Unit –

until 1980 before returning to her native country a year before

her death.

6 Kino 2/2002

”Hansel & Gretel“ by Lotte Reiniger

Another important figure was the avant-garde animator and painter

Oskar Fischinger who co-owned an animation company in

Munich by the age of 22 and produced a number of experimental

films. In an attempt to combine his two passions of music and

the graphic arts, Fischinger experimented with photographing

multiple forms – melting wax, cardboard cutouts, swirling liquids.

According to Fischinger historian William Moritz, he devised

”a machine that would slice very thin layers from a prepared block

of wax, with a camera synchronized to take one frame of the

remaining surface of the block. Any kind of image could be built

into the wax block – a circle getting smaller would be a simple

cone, for example.“

Fischinger worked at the UFA studios in Babelsberg on the

special effects for Fritz Lang’s silent science fiction film

Woman in the Moon (Frau im Mond) in 1928, and some

of his shorts took the form of advertisements. Muratti Gets

in the Act (Muratti greift ein, 1934), for example, was for

a popular cigarette company and had cigarettes marching in mad

goose-stepping formation – as a precursor to his later work with



Walt Disney on Fantasia (1940) where broomsticks did

the marching in The Sorcerer’s Apprentice episode.

Fischinger’s pioneering use of multiple overlapping projected images

and light shows alongside his abstract animation won him a

following outside of Germany at film festivals around the world

for bringing the last word in modernism. But the Nazis didn’t

share the same enthusiasm declaring his work as ”degenerate“

in 1936. Forced to leave Germany, Fischinger created shorts

for Paramount and MGM, worked for a year at Disney on

Fantasia and at Orson Welles’ Mercury Theater on a

project that was never realized. As Moritz notes, ”he was the

only avant-garde filmmaker of the 20s who also continued his

work in the 30s and 40s in his new home of Los Angeles and so

helped to spur on the experimental film movement in America“.

Kino 2/2002

Animation During the Third Reich

Any development of artistic dimensions to animation was nipped

in the bud by the draconian measures of the Nazi regime from

1933 onwards even though there was a (failed) attempt in 1942

by the Film Ministry to establish an official Deutsche Zeichenfilm

GmbH. The Film Ministry did command however the most distinguished

animators still in Germany to step up their production and

concentrate on theatrically viable animation features.

One figure working during the 30s was Wolfgang Kaskeline

(Zwei Farben, 1933, and Der blaue Punkt, 1936), who,

despite the general restriction of artistic freedom, was mainly

active in the field of advertising and ran his own studios in Berlin

and Bonn-Bad Godesberg after the war until his death in 1973.

Short animated commercials were the focus of the work at this

time by the three Diehl brothers – Paul, Hermann and

Ferdinand Diehl – who initially started in classical animation

and silhouette films before moving into puppet animation when

they set up their studio in Graefelfing, near Munich, in 1929.

Their film work specialized on fables and fairytales, but their

greatest success was with the tales spun around the figure of

”Mecki“ (1937) who captured children’s (and adults’) hearts

from the 1950s onwards and spawned a veritable flood of toys

and books, even to this day. Until 1970, the Diehls made more

than 60 films – some combining puppet animation with liveaction

– and over 100 commercials.

Meanwhile, ”audience darling“ Hans Fischer – also known as

Fischerkoesen – directed and produced animated fairy tale

fantasies -– such as Schall und Rauch (1933), Das blaue

Wunder (1935) and Snowman (Der Schneemann, 1944)

– which some observers deemed could hold their own with the

likes of Disney. As a result of Fischerkoesen’s success in advertising

films, Propaganda Minister Joseph Goebbels ordered him to

move his staff and studio from the Leipzig area to Potsdam to

make himself available for consultations and special effects on

features and documentaries.


”Capt’n Bluebear“ by Hayo Freitag

”Konferenz der Tiere“ by Curt Linda


Disney Dominance

After 1945, Germany was flooded with animated films from the

US, particularly from Walt Disney. People who had just lived

under 12 years of terror wanted to catch up on all of the pleasures

forbidden them by the Nazis and this included films from


As Albrecht Ade, founder of the internationally-renowned

animation festival in Stuttgart, pointed out in an touring exhibition

brochure of the new generation of animators in 1984, Disney et

al then set the agenda for a long while regarding the audiences’

tastes, and it was only in the second half of the 1960s that new

efforts came from art academies and individual enthusiasts to give

space once more to experimentation in animation and find new

forms of expressions and new audiences.

In the fifties, animation in (West) Germany was – with a few

exceptions – more about mannered style and perfect animation

technique than the quality of the drawing and imagination in the

dramaturgy. Any prospects for a continuity in the development of

the animation sector withered away when the tax incentives for

cultural films (Kulturfilme)– and thus for animated shorts – were

abolished. For many years, animation was alive and well in

Germany – but only in the world of advertising.

The Oberhauseners and Animation

In February 1962, a group of young filmmakers signed the

Oberhausen Manifesto, including a handful of animators.

One of the signatories, Wolfgang Urchs had made the short

Die Gartenzwerge in 1961, pointing up social aspects of life

in the young Federal Republic. At the time, the press described it

as ”the first competitive West German animated short“ and

Urchs followed with highly political short films like Die Pistole

(1963) and Kontraste (1964).

It was over two decades, though, before Urchs embarked on his

first animated feature for Michael Schoemann’s studio, In

der Arche liegt der Wurm, which was made between 1985

and 1987 and known as Stowaway in the Ark in the US. He

followed this in 1990 with Peterchens Mondfahrt.

Meanwhile, fellow Oberhausener Helmut Herbst, who later

progressed to live action features, brought the Axel Springer concern

into his sights with Schwarz-Weiss-Rot (1963/1964).

He then established the animation studio Cinegrafik in

Hamburg which worked on animation sequences for industrial

films and for Time Life as well as promotional trailers for the

third channel of local public broadcaster NDR. One of the studio’s

collaborators was Franz Winzentsen who had cofounded

an experimental puppet theater in 1960 and worked on

animation films at Cinegrafik until 1973.


In the 1970s, Winzentsen and his first wife Ursula made many

animation films for children’s television at NDR and WDR,

continuing this work into the 1980s after their separation with

such children’s films as Hin- und Rueckfahrt (1984/85) and

Telefonfieber (1984/85), playing with the possibilities of the


A previous film, Flamingo – Aus meinem Animationstagebuch

(1982), had seen Winzentsen – who has been

serving as professor for animation at the Academy of Fine Arts in

Hamburg since 1987 – combining various animation techniques

with photographs he had collected or taken. This approach was

continued in a collaboration with Thomas Mitscherlich on

the feature Der Fotograf (1990).

Doyen of German Animation:

Curt Linda

Back in 1969, the first German feature-length animation film was

produced in color – Die Konferenz der Tiere – by Curt

Linda who was awarded a Honorary German Film Award last year

for his outstanding services to German cinema. ”I unfortunately

didn’t invent any Mickey Mouse“ was what Curt Linda is

supposed to have said when asked why he hadn’t become as

famous as his US colleague Disney.

But generations of German children have been nevertheless

enchanted by the magical figures coming from his Linda-Film

Produktion animation studio since its launch in December

1961 with such features as Shalom Pharao (1982), Harold

und die Geister (1988, with live-action sequences), Das

kleine Gespenst (1992) and Die kleine Zauberfloete


”What distinguished Linda’s works was not the conveyor belt

work of hundreds of animators or lots of computers, but the

handicraft of a few possessed souls who pottered about in his

Munich studio between sketches, overflowing files and full shelves,

between prizes, certificates and cluttered up desks“, the German

Film Award organizers declared last year. Linda and his team

wanted, above all, to offer an alternative to the “American style

of over-dynamic movements and the mad hectic pace of the

characters“ with imaginative stories, the soft and gentle approach

and careful drawing. Often, more than 400,000 individual drawings

were needed for just one 90-minute film.

Apart from his feature films, Linda also worked for television with

such series as Sensationen unter der Zirkuskuppel

(1971-1974), Spass an der Freud’ (1973-1974) and Opera

Presto (1976-1977).

Kino 2/2002

Trixter & Magma Film’s ”Lilly the Witch“

”Werner“ by Michael Schaack


DEFA Animation Studio

Meanwhile, over in the former German Democratic Republic

(GDR), the DEFA Animation Studio was founded in

Dresden in 1955 and became a gathering place for artists from a

variety of related disciplines including graphic design, commercial

graphics, puppetry and information films, as well as production

groups specializing in puppet animation films, silhouette films and

the ”classic“ 2-cell animation.

As a Goethe Institute brochure accompanying a GDR

animation retrospective in 1992 observed, ”their love for the

very special art of animation, this unique combination of the

visual and the dramatic, formed a common bond which lasted

for decades“.

Until 1990, over 2,000 films were made – for the cinema, television

and other institutions. Each year saw about 15 films and

series with episodes of between five and thirty minutes being

made for the Children’s General Program (Kindersammelprogramm)

to be shown to kindergarten and nursery school groups.

Often, the films served as supporting films before the main feature

in the cinemas, and some of them served an educational purpose

for both children and adults. One series of 30 episodes,

Theo, for example, was on the issue of safety at the workplace,

while the figure of ”Kundi“ appeared in another series on behalf

of the German Hygiene Museum to teach children about

healthy living.

Among the leading figures from the DEFA Animation Studio

were co-founder Kurt Weiler and Sieglinde Hamacher,

whose works were celebrated in retrospectives at last year’s

Leipzig International Festival for Documentary and

Animation Film.

While 80-year-old Weiler is known for his puppet animation on

such films as Die Geschichte von Kalif Storch and Vom

faulen Toepfer und dem fleissigen Waescher, 65-yearold

Hamacher is known for her artistically challenging and politically

non-conformist films, such as Kontraste (1982) and The

Solution (Die Loesung, 1988), made when the days were

numbered for the East German state.

The Dresden studio was also a stage in the career of 1961-born

Heinrich Sabl, one of the most innovative figures of German

animation in the 1990s, whose films include the shorts Wolf

bleibt Wolf (1994), The Cock (1994), and 100 Jahre

Kino (1995), as well as Père Ubu (1997) and Mère Ubu

(1998). In 1989, the Filmfest Dresden was established on the

grounds of the DEFA studios, focusing on the city’s long

tradition of animation film. Since then, the festival has developed

into and remains a leader in the specialized area of animation.

Kino 2/2002

In 1991 however, all of the studio staff were laid off and the studios

closed down, bringing the production of puppet animation

films to a halt. In December of the same year, though, some of

the animators banded together to found Hylas Trickfilm

Dresden to produce and distribute puppet films for children and

adults. The following year, production began with support from

the state of Saxony on the making of Von der Fee, die

Feuer speien konnte. The arts authorities in Dresden helped

the new group set up a studio outside of the former DEFA infrastructure,

and they also produced the puppet film Wie der

Mistkaefer Bernhard zum Verstand kommt (1995).

German Animation from the 1990s

Animation films are traditionally targeted first and foremost at

children, but this changed at the beginning of the 1990s in

Germany when producers, in particular Michael Schaack,

came upon the idea of bringing movement to the characters in

the cult Werner comic strips by Roetger ”Broesel“

Feldmann. Director/producer Schaack’s animated feature

Werner – Beinhart! (1990) was the result, and the beginning

of a highly successful franchise which has now entered into production

on its fourth edition with Hayo Freitag’s Werner –

Ein Volk, Ein Koenich (2002).

The German animation industry has since become the envy of the

rest of the European animation community for being able to score

box-office success with ”adult“ features such as Gerhard

Hahn’s Werner – Volles Roaaa! (2.7 million admissions)

and Schaack’s The Little Bastard (Kleines Arschloch,

3 million admissions), as well as with ”traditional“ animation for

children such as Schaack’s Pippi Langstrumpf, and Thilo

Graf Rothkirch and Piet de Rycker’s The Little Polar

Bear (Der kleine Eisbaer, 2001).

Animation targeted mainly at children is naturally at a disadvantage

because such films normally can only secure afternoon and,

possibly, early evening screening slots in the cinemas and will have

lower takings since the bulk of the box-office comes from the

lower priced tickets for children. Films aimed at a wider, adult

audience, however, will also have access to evening slots

and thus have the potential for higher box-office returns.

It is no surprise then that European animation producers are

increasingly adopting the moniker of ”family entertainment“ to

describe their output so as to escape the ”children’s film ghetto“.

As Michael Schmetz, consultant to studio Hahn Film and

Filmboard Berlin-Brandenburg among others, observes in a study

of animation feature films in Germany since 1997, one point to

remember about the comedies à la Werner and Arschloch

is that they may ”have not only refinanced themselves in the


”The Little Polar Bear“ by Thilo Rotkirch & Piet de Rycker


German-speaking market, but have also generated good profits

for the producers“; however, their ”specifically German humor“

means that these comedies are not great shakes in the export


Top German Animation

Features 1997-2001

Title Prod Company Admissions

Kleines Arschloch Senator/TFC 3,071,042

Werner – Volles Rooaaa! Achterbahn/Hahn 2,774,908

Der kleine Eisbaer Cartoon Film/Warner 2,612,679

Kapt’n Blaubaer Senator/TFC 1,371,115

Pippi Langstrumpf Kirch Media/Svensk 1,106,033*

Film (Sweden)

Pettson & Findus TV Loonland/Happy 1,029,554*

Life Animation (Sweden)

Die furchtlosen Vier Munich Animation 800,736

Hilfe! Ich bin ein Fisch Munich Animation/ 696,737*

AFilm (Denmark)/Terra Glyph (Ireland)

Die Story von Monty Monty Film/ 692,111

Spinneratz Warner Bros.

Pippi Langstrumpf in Kirch Media/TFC/ 574,171*

der Suedsee Svensk Film (Sweden)

* international co-productions. Source: FFA/Filmboard Berlin-Brandenburg

Diverse Studio Landscapes

Unlike France – where the industry is very much based in Paris –

Germany’s lack of one main production center is something of a

problem. But the federal structure does have its benefits since, as

with live-action production, the German states vie with each

other to attract animation studios to locate to their region by

providing attractive incentives. This is reflected in the seven

leading animation studios for the production of features: Hahn

Film and Cartoon Film Rothkirch are based in Berlin,

TFC Trickompany and Animationsstudio Ludewig in

Hamburg, Motion Works in Halle, and Trixter Film and

Munich Animation Film in Munich.

Added to these players are the production companies active in

the animation sector who do not have their own physical studio,

ranging from Senator Filmproduktion and Greenlight

Media through ndF neue deutsche Filmgesellschaft and

RTV Family Entertainment to Warner Bros. Film and


Not to mention the many small outfits dotted around the country

who work primarily for television or advertising such as Toons

’n’ Tales, Scopas Medien and Studio Film Bilder.

”The German animation film studios also work in part as networks

since, on the one hand, they often don’t have the capacity

for the production of a feature film“, Schmetz explains, ”and, on

the other, there are components like 3D animation which are only

available in certain studios“. Thus, The Little Polar Bear

involved the cooperation of four German animation studios:

Cartoon Film Rothkirch, Motion Works, Animationsfabrik

Hamburg, and Animationsstudio Ludewig.


According to Schmetz, around three animation features have been

produced in Germany each year since 1997, although he argues

that ”a volume of annually seven to ten German films could be

well managed by the local cinema market and would also give the

studios the possibility to hold on to their valuable creative personnel

and occupy them on a continuous basis. Three films annually,

however, are not enough to keep the existing studio capacities

busy. All feature film producers are therefore also producers of

TV series at the same time“.

New Entrants

Interestingly, animation has also cast its spell on producer

colleagues from the live-action fiction segment.

One of the highest profile ”converts“ to the animation world was

veteran producer Eberhard Junkersdorf who set up his own

animation studio Munich Animation Film from scratch in

1995 to produce an animated version of an updated story of the

Bremen Town Musicians in The Fearless Four (Die furchtlosen

Vier, 1997), distributed by Warner Bros.

Since then, the studio has worked with Thilo Graf Rothkirch

on Tobias Totz und sein Loewe (1999); on Help! I’m a

Fish (2000) with Danish and Irish production partners; and is

now preparing a feature based on the adventures of Jester Till

(Till Eulenspiegel) with British and Belgian partners. ”The animation

scene didn’t really exist before in Bavaria“, Junkersdorf

recalls. ”We really triggered off a lot and many other companies

then followed“.

Meanwhile, down at the Bavaria Film-Studios, Odeon

Film is preparing to diversify into animation programming

through subsidiary Lunaris Film’s animation film rights to the

classic children’s books by Erich Kaestner. First up is a 13-part

series of Emil and the Detectives (Emil und die

Detektive) together with the Cologne-based animation studio

Juergen Egenolf Productions (J.E.P.) using the famous

Kaestner illustrations by Walter Trier as the basis for the


What’s more, the Leipzig outpost of Berlin producer Alexander

Ris’ Mediopolis Film – producer of films by Fred

Kelemen and Seyhan Derin – has joined forces with Tony

Kino 2/2002

”Tobias Totz und sein Loewe“ by Thilo Rotkirch & Piet de Rycker

”The Fearless Four“ by M. Coldewey, E. Junkersdorf, J. Richter


Loeser’s Motion Works to develop a 26-part series,

Count Mocca, centered on the figure of the colorful inventor

and adventurer for the six to eleven age group.

And Berlin is the base for an animation subsidiary launched by

Hofmann & Voges Entertainment – Punchhole Film

– to produce for cinema and TV. The first fruits of this collaboration

are the animated linking sequences in the Erkan & Stefan

headnut TV show, which will prepare fans for the release of an

animated feature film based on the ”krass krauts“, currently entitled

Erkan & Stefan und das Doenertier.

European Dimension

Given the size of the budgets animation features command – an

estimated average of Euro 6.5 million –, it is not surprising that

European co-production has increasingly become the name of

the game.

”Co-production is a necessity“, declares Stephan Schesch,

formerly of Ellipse Deutschland, ”but also an opportunity to

combine stories and talents from different markets. Instead of

being narrow-minded, it enables us to make products which are

geared to a global market“.

Someone who would agree with this is German-born Ralph

Christians, whose company Magma Films is based on the

west coast of Ireland in Galway and has worked with Schesch on

the Loggerheads and Norman Normal series and is now

collaborating with Trixter Film on the Lilly the Witch

series and the feature Moby Dick – The Legend Returns.

”I think we have created a network here in Europe where people

come together with different skills“, Christians explains. ”If you

look at Greenlight, they are very good at marketing and merchandising.

Our main skill is to create and write stories by inhouse

writing teams for other studios, and others are very good

at voice recording or post-production“.

This ”European dimension“ to the German animation scene

operates in both directions: foreign animation studios come

onboard German productions – as in the case, say, of Tobias

Totz und sein Loewe and Pettson & Findus.

Indeed, Michael Schmetz’s line up of 20 German animation

features planned for production from now until 2004 shows that

13 - i.e. 65% - will be international co-productions (this figure was

40% between 1997-2001). They include Motion Works’

Globi – der gestohlene Schatten with partners from

Switzerland and Luxembourg; Lenard Krawinkel’s Gaya

with a Spanish production partner; and three projects between

Greenlight Media and OSCAR-winning producer John

Williams (Shrek, 2001).

Kino 2/2002

But German studios are also much sought-after partners for productions

from other European territories. As Fredrik Zander

of Stockholm-based Happy Life Animation points out:

”Many of our projects have been co-produced with Germany

because the German funding programs are more flexible with coproduction

deal structures. It is more difficult to co-produce with

French or Canadian partners because their quota system forces us

to place production in places where we might not think there was

the best talent“.

A recent case of a German animation studio being involved in an

international feature was Animationstudio Ludewig in

Hamburg working on the compositing for Jimmy Murakami’s

Christmas Carol – The Movie (2001), featuring the voices

of Kate Winslet and Nicolas Cage.

Show Me the Money

In the past five years, German public funds – i.e. the regional

economically-oriented bodies and the national German

Federal Film Board (Filmfoerderungsanstalt/FFA) –

have, on average, put up 50%-60% of the production costs for

German animation features via conditionally repayable loans.

”In many cases, animation can be more successful than live-action

films because it can get distribution not only nationally but also

internationally“, argues FilmFernsehFonds (FFF) Bayern

president Klaus Schaefer.

Indeed, the regional funds’ intention is also to help support the

creation of a lasting infrastructure for the animation sector, and

FFF Bayern’s Euro 7 million worth of investment over the last

five years in such animation projects as The Fearless Four,

Help! I’m a Fish and Pettson & Findus created an

economic ”effect“ of Euro 50 million in the region.

Similarly, the state of Baden-Wuerttemberg and its regional fund

Medien- und Filmgesellschaft (MFG) have made the animation

sector a priority given the concentration of talents coming

out of the Film Academy Baden-Wuerttemberg in Ludwigsburg

and the presence of companies in the region like Studio Film

Bilder which handled the animation sequences in Tom

Tykwer’s Run Lola Run (Lola rennt, 1998).

But not all is hunky dory as producer Thilo Graf Rothkirch

explained in an open letter to the finance ministries of Berlin and

Brandenburg this spring, calling on them to make a clear commitment

to the region’s media industry by increasing the financial

resources available to Filmboard Berlin-Brandenburg.

”We should not allow well-trained animators and operators to

move away to other regions just because we are on a weak


”Erkan & Stefan“ character sheet (© Punchhole)

”Help! I’m a Fish“ by Stefan Fjeldmark & Michael Hegner


footing in the financing of our projects, or whole projects leave

the region“, Rothkirch argued. ”We want to realize our visions

at the place where we live and not in foreign parts“.

According to Eberhard Junkersdorf, more money could be

generated for German animation films (and other genres) on top

of the public funds through the introduction of financial incentives

based on models in other countries such as the UK sale and

leaseback scheme, or the tax schemes operating in Ireland,

Luxembourg and Canada.

As it is, Germany’s private media funds have already identified

animation features and series as a lucrative business with the promise

of a long shelf-life and broad exploitation of ancillary rights.

Some – such as Berlin Animation Film (BAF), Festival

Film and Scopas Family Entertainment have specialized

solely in animation.

Others have boarded certain projects with international potential

such as MBP (Internationale Medienbeteiligungs-

Film- & TV-Produktionsgesellschaft)’s backing of the

UK production house Illumination Films’ Christmas

Carol – The Movie and CP Medien’s involvement in

Jester Till to be produced by Munich Animation with

Nik Powell’s Scala Productions and Belgium’s Stupid


And Berlin-based Target Media was recently set up by Thilo

Graf Rothkirch’s Cartoon Film and The Little

Vampire-producer Comet Film to produce at least 15

animation and live-action features and TV series with Warner

Bros. as a distribution partner.

German Animation’s Up-and-

Coming Generation

During the 1980s, several film and art schools in Germany,

particularly in Hamburg, Kassel, Stuttgart and Braunschweig,

became centers of animated film experimentation, which have

since served as a wellspring of ideas and development laboratory

for commercial film productions.

Albrecht Ade, who launched the animation studies course at

the Art Academy in Stuttgart in 1979, has played a pivotal role in

the development of a new generation of animators and of the

public perception of animation in Germany. Animation was high

on the agenda during the founding of the Film Academy in

Ludwigsburg, where Ade served as artistic director (Dr. Arthur

Hofer succeeded him in this post in 2000). Ade also provided a

national and international forum for the latest trends in animation

with the establishment of the Stuttgart International


Festival of Animated Film which has been held every two

years since 1982.

The Film Academy in Ludwigsburg has gained the expertise of

Jochen Kuhn as professor for film design. Kuhn has taught

widely in Germany, Great Britain, Austria and Australia and has

received numerous awards for his films, such as Der lautlose

Makubra, 1980, Die Beichte, 1990, Die Stimme des

Igels, Vol. I & Vol. 2, (1994), Just Messing About

(Fisimatenten, 2000), and the Neulich series (1998-2002),

to name but a few. And in January of 2002, the Film Academy

launched its own Institute for Animation, Visual Effects and

Digital Post-Production. The Institute – under the direction of

Professor Thomas Haegele – is not only responsible for

courses such as Storytelling/Artistic Animation, Character

Animation and Visual Effects, but also for a development pool

for animation series with the focus on content design and

technical design.

Moreover, recent developments have also seen the establishment

of an Animation Master Class at the Fernsehakademie Mitteldeutschland

(FAM) in Halle in central Germany in cooperation

with the local animation studio Motion Works and MDM

Mitteldeutsche Medienfoerderung to offer courses on

VFX and animation. And here are some of the ”ones to watch“ in

the new generation of animators in Germany:

Susanne Fraenzel teaches film animation at the Art

Academy in Stuttgart and makes films illustrating a successful

symbiosis of live action and colorful drawings, such as Bravo

Papa 2040 (1989).

Felix Goennert has been studying at the ”Konrad Wolf“

Academy of Film & Television in Potsdam-Babelsberg since 1997

and made Bsss in 1999, which was shown in the Export-Union’s

”Next Generation“ student film showcase in 2000.

Thomas Meyer-Hermann teaches at the Art Academy in

Stuttgart and is founder of Studio Film Bilder, which produced

Gil Alkabetz’ animated sequences for Tom Tykwer’s

international hit Run Lola Run.

Andreas Hykade is a director and animator at Studio Film

Bilder in Stuttgart and the recipient of numerous awards.

His films include: We Lived in the Grass (Wir lebten im

Gras, 1995) employing a very individual drawing style to explore

the human psyche, and Ring of Fire (2000).

Kino 2/2002

”Die Stimme des Igels“ by Jochen Kuhn

”Balance“ by Christoph & Wolfgang Lauenstein


Vuk Jevremovich studied Architechture in Belgrade before

moving to Munich in 1991 to study at the Academy of Fine Arts.

His films include: Era (1995), The Wind Subsides (1996),

Panther (1998), which was shown in Venice, and Diary

(Tagebuch, 2000), shown in competition in both Montreal and


Vera Lalyko studied Music and Sound Engineering before taking

up Animation at the Academy of Media Arts Cologne in 1996.

She graduated with the film Window with a View (Fenster

mit Aussicht, 2001), which is being presented in this year’s

Export-Union ”Next Generation“ program. She works as a freelance

animator for music clip productions, commercials, TV series,

and Internet projects.

The brothers Christoph and Wolfgang Lauenstein

brought home a much-cherished OSCAR for their film Balance

in 1989 and have created advertising spots in their Hamburg

studio for such companies as Sega, Nike and Coca-Cola.

Daniel Nocke studied Animation and Direction at the Film

Academy Baden-Wuerttemberg from 1994-1999, graduating with

the film Die Troesterkrise, which won a prize at the International

Festival for Animated Film in Stuttgart and was nominated

for the First Steps Award in 2000. He has also written screenplays

for Stefan Krohmer’s (live action) films Barracuda

Dancing, Ende der Saison and Sie haben Knut.

Ingo Panke studied Sociology and Political Science before

attending to the ”Konrad Wolf“ Academy of Film & Television in

Potsdam-Babelsberg. During his studies he made two cartoons –

including the 1999 ”Next Generation“ film Trompe L’Oeil –

and an experimental film.

Jan Thuering made his first short – The Battle of

Waterloo – at the age of 10 and studied Visual Communication

at the Niederrhein Academy of Communication from 1995-1997.

His animated short Terminal: Paradise (Endstation:

Paradies 2000) was shown in the ”Next Generation“ program

in 2001.

Thomas Stellmach and Tyron Montgomery are young

filmmakers teaching at the Academy in Kassel and working independently.

They received an OSCAR in 1996 for Quest, a tragic

tale of a sand person searching for water in a world of sand.

Chris Stenner has worked as a programmer and 3D artist and

has been studying Animation at the Film Academy Baden-

Wuerttemberg since 1998. He co-directed the animation short

Mann im Mond (1999) with fellow student Arvid Uibel

(1978-2000), and Rocks (Das Rad, 2001), together with

Kino 2/2002

Arvid Uibel and colleague Heidi Wittlinger. Rocks

is dedicated to Arvid Uibel.

Kirsten Winter teaches at the Academy for Design and

Media in Hanover and has participated in numerous media art

festivals with such films as Clocks (1995), a powerful synthesis of

sound and painting and winner of the Short Film Award at Montreal

in 1995, and Escape (2001), which was shown in competition at

Montreal in 2001. She also collaborated with Gerd Gockell on

the documentary Muratti & Sarotti (2000), a documentary

on early German animation using cut-outs, objects, and archival


Heidi Wittlinger has worked in design studios in Stuttgart

and Israel and has been studying Animation at the Film Academy

Baden-Wuerttemberg since 1998. In addition to her co-direction

on Rocks, her other films include Lockvogel, Auf Herz

und Nieren, Ei and Headless.

Martin Blaney


”Quest“ by T. Stellmach & T. Montgomery

(photo courtesy of Hessische Filmfoerderung)

”Christmas Carol – The Movie“ by Jimmy Murakami

ANIMATION – MADE IN GERMANY (useful contacts)


Abrafaxe Trickfilm AG

Lindenallee 5 · 14050 Berlin/Germany

phone +49-30-30 69 27 0 · fax +49-30-30 69 27 29


Contact: Klaus D. Schleiter

Animationsfabrik Hamburg

Donnerstrasse 20 · 22763 Hamburg/Germany

phone +49-40-3 98 41 50 · fax +49-40-34 98 15 35


email: mail@animationsfabrik.de

Contact: Joern Radel

ASL – Animationsstudio Ludewig GmbH

Hamburger Strasse 205 · 22083 Hamburg/Germany

phone +49-40-2 00 01 90 · fax +49-40-20 00 19 19

www.asl-studios.com · email: info@asl-studios.com

Contact: Gert Ludewig

Comet Film

Otto-Hahn-Strasse 136 · 40591 Duesseldorf/Germany

phone +49-2 11-75 79 80 · fax +49-2 11-75 79 81

Contact: Gernot Nitschke

Greenlight Media AG

Gormannstrasse 22 · 10119 Berlin/Germany

phone +49-30-7 26 20 00 · fax +49-30-7 26 20 02 22


email: info@greenlightmedia.com

Contact: André Sikojev

H5B5 Media GmbH

Rosenheimer Strasse 145f · 81671 Munich/Germany

phone +49-89-45 25 45 00 · fax +49-89-45 25 45 55

www.h5b5.de · email: h5b5@h5b5.de

Contact: Hendrik Hey

Hahn Film AG

Schwedter Strasse 36a · 10435 Berlin/Germany

phone +49-30-4 43 54 90 · fax +49-30-4 43 54 92 53

www.hahnfilm.de · email: hahn@hahnfilm.de

Contact: Gerhard Hahn

Hylas Trickfilm Dresden

Meissner Landstrasse 54 · 01157 Dresden/Germany

phone/fax +49-3 51-4 54 01 37

Contact: Rolf Hofmann

Juergen Egenolf Productions (J.E.P.)

Schillerstrasse 6 · 50968 Cologne/Germany

phone +49-2 21-9 34 74 50 · fax +49-2 21-93 47 45 11

email: info@jepnolf.de

Contact: Dorothea Meersmann

Linda-Film Produktion

Roemerstrasse 60 · 85609 Aschheim/Germany

phone/fax +49-89-9 03 40 65

Contact: Curt Linda

Lunaris Film GmbH & Co KG

Kurfuerstenplatz 4 · 80796 Munich/Germany

phone +49-89-39 00 26 · fax +49-89-39 55 69

email: filmproduktion@t-online.de

Contact: Peter Zenk

Mediopolis Film- und Fernsehproduktion


Buelowstrasse 66 · 10783 Berlin/Germany

phone +49-30-2 35 56 00 · fax +49-30-23 55 60 66

www.mediopolis.de · email: office@mediopolis.de

Contact: Alexander Ris

Motion Works GmbH

An der Waisenhausmauer 11 · 06110 Halle/Germany

phone +49-3 45-20 56 90 · fax +49-3 45-2 05 69 22


email: motionworks_halle@t-online.de

Contact: Tony Loeser

Munich Animation Film GmbH

Rosenheimer Strasse 143d · 81671 Munich/Germany

phone +49-89-3 83 88 20 · fax +49-89-38 38 82 22


email: info@munich-animation.com

Contact: Eberhard Junkersdorf

ndF neue deutsche Filmgesellschaft mbH

Kanalstrasse 7 · 85774 Unterfoehring/Germany

phone +49-89-95 82 60 · fax +49-89-95 81 60

www.ndf.de · email: info@ndf.de

NFP animation film GmbH

Unter den Eichen 5 · 65195 Wiesbaden/Germany

phone +49-6 11-1 80 83 10 · fax +49-6 11-1 80 83 79

www.nfp.de · email: trick@nfp.de

Contact: Stefan Thies

Odeon Film AG

Bavariafilmplatz 7 · 82031 Geiselgasteig/Germany

phone +49-89-64 95 80 · fax +49-89-64 95 81 03

www.odeonfilm.de · email: mail@odeonfilm.de

Contact: Reinhard Kloos

PunchHole GmbH & Co. KG

Schoenhauser Allee 8 · 10119 Berlin/Germany

phone +49-30-44 03 97 40 · fax +49-30-44 03 97 80

www.punch-hole.com · email: contact@punch-hole.de

Contact: Peter Thaler

Rothkirch Cartoon-Film

Bergmannstrasse 68 · 10961 Berlin/Germany

phone +49-30-6 98 08 40 · fax +49-30-69 80 84 29

www.cartoon-film.de · email: cartoon-film@snafu.de

Contact: Thilo Graf Rothkirch

RTV Family Entertainment AG

Rheinstrasse 4c · 55116 Mainz/Germany

phone +49-61 31-97 31 90 · fax +49-61 31-9 73 19 10

www.rtv-ag.de · email: info@rtv-ag.de

Contact: Ulrike Willner

Senator Entertainment AG

Kurfuerstendamm 65 · 10707 Berlin/Germany

phone +49-30-88 09 17 00 · fax +49-630-88 09 17 23

www.senator.de · email: info@senator.de

Studio Film Bilder

Ostendstrasse 106 · 70188 Stuttgart/Germany

phone +49-7 11-48 10 27 · fax +49-7 11-4 89 19 25

www.filmbilder.de · email: studio@filmbilder.de

Contact: Thomas Meyer-Hermann

14 Kino 2/2002

ANIMATION – MADE IN GERMANY (useful contacts)

TFC Trickompany Filmproduktion

Hohenesch 13 · 22765 Hamburg/Germany

phone +49-40-3 98 81 90 · fax +49-40-3 98 81 92 00

email: tfc@tfchamburg.de

Contact: Michael Schaack

Toons ’N’ Tales Filmproduktion

Lerchenstrasse 16c · 22767 Hamburg/Germany

phone +49-40-43 13 34 70 · fax +49-40-43 13 34 75

www.toons-n-tales.com · email: info@toons-n-tales.com

Contact: Sunita Struck

Trixter Film GmbH

Oberfoehringer Strasse 186 · 81925 Munich/Germany

phone +49-89-95 99 55 90 · fax +49-89-95 99 55 99

www.trixter.de · email: info@trixter.de

Contact: Michael Coldewey

TV-Loonland AG

Muenchner Strasse 16 · 85774 Unterfoehring/Germany

phone +49-89-20 50 80 · fax +49-89-20 50 81 99

www.tv-loonland.de · email: info@tv-loonland.com

Contact: Peter Voelkle

Warner Bros. Film GmbH

Jarrestrasse 4 · 22303 Hamburg/Germany

phone +49-40-22 65 00 · fax +49-40-22 65 02 59



Filmfest Dresden – International Festival

for Animation & Short Films

Alaunstrasse 62 · 01099 Dresden/Germany

phone +49-3 51-82 94 70 · fax +49-3 51-8 29 47 19

www.filmfest-dresden.de · email: info@filmfest-dresden.de

Contact: Robin Mallick, Ines Seifert

Leipzig International Festival for

Documentary and Animated Film

c/o DOK - Filmwochen GmbH

Grosse Fleischergasse 11 · 04109 Leipzig/Germany

phone +49-3 41-9 80 39 21 · fax 3 41-9 80 61 41


email: dok-leipzig@t-online.de

Contact: Fred Gehler

Stuttgart International Festival of

Animated Film

c/o Film- und Medienfestival GmbH

Breitscheidstrasse 4 (Bosch Areal)

70174 Stuttgart/Germany

phone +49-7 11-92 54 60 · fax +49-7 11-92 54 61 50

www.itfs.de · email: trickfilm@festival-gmbh.de

Contact: Albrecht Ade

Kino 2/2002


BAF – Berlin Animation Film GmbH

Gormannstrasse 22 · 10119 Berlin/Germany

phone +49-30-7 26 20 04 30 · fax +49-30-7 26 20 04 44

www.baf-film.com · email: info@baf-film.com

Contact: Patricia Schaefer, Markus Bruning

CP Medien

Schorndorfer Strasse 42 · 71638 Ludwigsburg/Germany

phone +49-71 41-2 42 01 10 · fax +49-71 41-2 42 01 30

Festival Film Group

Bavariafilmplatz 7 · 82031 Gruenwald/Germany

phone +49-89-64 98 11 05 · fax +49-89-64 98 13 05

www.festival-film.de · email: info@festivalfilm.de

Contact: Claudia Tauchen

MBP - Internationale Medienbeteiligungsgesellschaft

mbH & Co. KG

Nymphemburger Strasse 121 · 80636 Munich/Germany

phone +49-89-1 25 55 50 · fax +49-89-12 55 55 55

www.mbp-medien.de · email: info@mbp-medien.de

Scopas Medien AG

Westerbachstrasse 28 · 60489 Frankfurt/Germany

phone +49-69-78 99 20 · fax +49-69-78 99 22 23

www.scopas.de · email: contact@scopas.de

Contact: Thomas Schneider, Sandra Neumann

Target Media Entertainment GmbH & Co.

Filmproduktion KG

Almazeile 6g · 13505 Berlin/Germany

phone +49-30-88 91 33 55 · fax +49-30-88 91 33 56


email: info@targetmediaentertainment.de

Contact: Karin Stammer

”Pettson & Findus“ by A. H. Kaminski


Director’s Portrait Andreas Dresen

A Silent Country and not ”a blossoming country“.

Night Shapes and not ”heroes of the day“.

This is what his films are called. Lack of faith in the

new German light of day transformed into cinema.

And now Halbe Treppe: half a staircase.

Andreas Dresen was born in Gera, Saxony in 1963. His father was the eminent theater director Adolf

Dresen. While still at school, he led a drama group, and began making amateur films in 1979. He worked as a

sound technician at the theater in Schwerin and as an assistant director at the DEFA studios before taking up

his studies at the ”Konrad Wolf“ Academy of Film & Television (HFF/B) in Potsdam-Babelsberg. A member

of the Academy of the Arts Berlin-Brandenburg since 1998, he received the Andrzej Wajda/Philip Morris

Freedom Prize in February of this year. Still active in the theater, his production of Akte Boehme was premiered

in December of last year at the Schauspielhaus Leipzig. His most important films include Silent Country

(Stilles Land, 1992, Hessen Film Award, German Critics’ Award), Das andere Leben des Herrn

Kreins (TV, 1994, DAG Television Award in Gold), Changing Skins (Raus aus der Haut, TV, 1997,

main prize at the Filmkunstfest Schwerin), Night Shapes (Nachtgestalten, 1998, several prizes

including a Silver Bear at Berlin for Best Actor and the German Film Critics’ Award), The Policewoman

(Die Polizistin, 2000, several prizes including the Adolf Grimme Award in Gold and the German Camera

Award) and Grill Point (Halbe Treppe, 2001, Silver Bear and Special Jury Award at the 2002 Berlinale).

Andreas Dresen lives in Potsdam.



So he even halves stairs. Where do half staircases

lead? Never to a center, that’s for certain. And definitely

more likely down than up. One senses that it is

impossible to stay in places where ”half staircases“


Unless that place is the cinema. Perhaps there are no

better vantage points for film. After all, his is one of

the leading names among the not very many of new

German cinema. Andreas Dresen’s Grill Point

(Halbe Treppe) was the only one of four German

films in competition at the 2002 Berlinale, which,

according to most critics, could not be seen as a half

measure in any sense. Although it only consists of four

people, half-forgotten by life, living in a half-forgotten

eastern German town and having various difficulties

with each other. For they were careless enough to

remind life of their existence. The directness of Grill

Point countenances no reserve. It shoots us – and

we ourselves are also made up of reserve – into the

midst of a maelstrom which must, then, be life itself.

Dresen likes that sort of effect. He had already tried

it out in Night Shapes and The Policewoman.

All of these films are about the man on the street.

There are few other German directors who lend such

importance to the man on the street.

Cinema as an injection of reality. Driving truth to the

point where it hurts. Anything less than that, Dresen

believes, and a film is not worth starting on. Some people have

been alienated by this. One critic wrote in the mid-nineties: ”In

their first takes, east German films make it obvious that they are

Michael Hammon, Andreas Dresen (photo © WDR)

16 Kino 2/2002

Director’s Portrait Andreas Dresen

cultural products of the old type, with basic conflicts, with pretensions

and a message“. The critic did not bother to conceal a certain

dismay at such cultural fundamentalism. And it’s true, when

the German comedy volcano was already in the midst of erupting

ten years ago, Dresen was very careful not to let himself be

touched by either its lava or its rain of ash, consistently demanding

the return of the socially critical film. Sounds like organized gloom.

Films which offer us nothing to laugh about, about people who

have nothing to laugh about? But Dresen corrected this. Weighty

material simply has to learn to fly! Perhaps it is the tremendous

lightness of his films which repeatedly renders us speechless. And

indeed, why do people dress up laughter in extra ”laughter films“?

That is trivial. Andreas Dresen has not yet made a single

comedy, and yet his films are amusing and grotesque all in one.

He was not necessarily destined for success. Andreas Dresen

belongs to a generation in the East which could easily have gone

under during the change from east to west. On the one hand, he

was still young – twenty-seven years old at the end of the German

Democratic Republic (GDR) – but the period which had shaped

him was irrevocably over. It was a development under the auspices

of the DEFA. The DEFA, the feature film studio of the GDR,

stood for ”cultural products of the old type“, for content, message

and pretensions. As yet without his own DEFA films, in 1990 this

quasi-DEFA director found himself in a new anti-DEFA reality. An

idiotic beginning, when you think about it.

But he had already noticed something. His film academy in

Potsdam had sent its students out into the streets. They were to

Director’s Portrait Elfi Mikesch

Kino 2/2002

observe the fall of the GDR with the camera, and Dresen did

just this. He made a few very fine, short ”fall-of-the-GDR-films

and then a wonderful, longer one (Silent Country), and in the

process he became aware of something remarkable: naturally,

decline and fall are always a bit sad in some way – this lies in the

nature of decline as a metaphysical fact – but above all, they can

also be terribly funny. Dresen has never forgotten this. The fact

that true metaphysics lie in the profane and that in reality they are

funny. The fact that from the outside, the best tragedies appear

fundamentally ”untragic“. And that the most successful comedies

have to be tragedies anyway. Andreas Dresen makes this kind

of film - Andreas-Dresen-films. An Andreas-Dresen-film comes

about when skilled DEFA technique and the weight of truth meet

up with the imperative of becoming lighter. Shake it off! Why

cameras on rails when you can carry them on your shoulders?

Why floodlights when it is light outside anyway? One is aware of

the techniques in order to know what can be done without.

Generally speaking, ”becoming lighter“ in this way is a sign of

maturity. This is when the social worker’s view begins to dance

and is drawn with a magical certainty into what sociologists have

decided to call ”social reality“.

In the case of Grill Point, Dresen’s attention was finally drawn

to the screenplay. Isn’t a screenplay far too weighty? And so

Andreas Dresen abandoned the screenplay, too.

Kerstin Decker writes for the Tagesspiegel,

die tageszeitung and Die Zeit, among others





One simple conviction forms the basis for all of Elfi Mikesch’s

films: ”I believe in life, in the energy and intensity of a life that

breaks out of protected spheres, striving towards the unknown.“

Neither her experimental short films, nor her documentaries and

feature films are inventions with which to visualize abstract ideas

or to stage routine narratives. They are images and creations of

life, focusing on real people. Her films are journeys of discovery

into the secret heart of what is human; they are full of poetry, it is

true, but at the same time they are permeated by an intense experience

of reality.

Her first documentary film Ich denke oft an Hawaii already

demonstrated the direction Mikesch’s film work was to take.

Imagination, a willingness to take risks and a desire for freedom

are the decisive landmarks in both Mikesch’s life and her films.

All the people featured in her work, whether they are presented

in a documentary manner or brought to the screen as fictional

characters, are ”people of opportunity“. In Marocain (TV,

1989), Eva Lehmann leaves her northern German home and

enters the risk of a new life in Marrakesh. Mind the Gap is a

documentary telling the life story of Thorsten Ricardo Engelholz,

who emerges from a dark, handicapped childhood into a life of

creativity. The Markus Family is about the energy of a

person who can scarcely see, but who is able to devise a life for

himself as an artist.


Elfi Mikesch (photo © Lilly Grote)

Director’s Portrait Elfi Mikesch

It is no coincidence that Mikesch’s films are often concerned

with artists. For on the basis of her own destiny, it is possible to

show in an exemplary way how significant a role in life is played by

imagination and reverie. ”And this reverie is also playful“,

Mikesch adds: ”Our soul plays with all those ideas that it is not

permitted to play with during the day. That is why I do the same

with my films.“ But these playful games are not entertainment with

which to divert our attention away from life. They determine life

itself, whether in the shape of memories when facing death as in

Elfi Mikesch was born on 31 May 1940 in Judenburg/Austria. After leaving

school, she trained as a photographer. She has lived in Berlin since 1965 and works

as a photographer, camerawoman and director. In 1968, she published her first

German photo novel under the pseudonym Oh Muvie. She received a German Film

Award in 1978 for her first long documentary film Ich denke oft an Hawaii,

and again in 1979 for her dynamic, cinematic photo series in black and white

Execution: A Study of Mary concerning the life and death of Mary Stuart.

Besides documentary films about people with the courage to risk a life crossing

over boundaries – most recently Mind the Gap (Verrueckt bleiben, verliebt

bleiben, 1996) and The Markus Family (2000) –, she has made

several short films, including Das Fruehstueck der Hyaene (1983) and

Soldaten Soldaten (1993). Her first feature film Macumba was realized in

1982. During 1985 she made Seduction: The Cruel Woman in collaboration

with Monika Treut. Elfi Mikesch has worked as a camerawoman together

with various directors, nationally and internationally, including Rosa von Praunheim

(The Einstein of Sex - Dr. M. Hirschfeld, 1999), Werner Schroeter (Malina, 1991,

and Poussières d’Amour, 1996), Monika Treut (Die Jungfrauenmaschine, 1988), Peter

Woditsch (Hey Stranger, 1994) and Teresa Villaverde (A idade maior, 1991) to name

but a few.

Was soll’n wir denn machen ohne den Tod? (1980) or

in the shape of scenarios as in the feature film Seduction: The

Cruel Woman, where masochistic reveries are staged as a

form of life and artistic action.

Elfi Mikesch loves documentary film. ”I love this way of working,

approaching other people and working together with them,

this mutual play with all our possibilities.“ She becomes involved

with people and their situations, in a reciprocal process of give and

take in which something new may always be discovered,

both before and behind the camera. This joy in discovery

derives its energy from a precise viewpoint; one which

also takes its time. Often "silent" images are the ones

characteristic of Mikesch’s style. By contrast to the

flood of images in the media – over-stimulating our perception

and threatening to cripple it –, she works with

camera angles and editing techniques which facilitate

attentive contemplation. Intensity and precision are the

ideals of her cinematic aesthetics.

Her camera work for other directors radiates the same

concentration. It does not make any essential difference

to Mikesch whether she is working as a director herself

or wielding the camera for others, as long as there is

productive harmony. In this respect, too, rich interplay

with characters prepared to take on risks is central to

her work. ”I can learn by working together with others.

I am stimulated to develop my own conceptions and

ideas. It is a fruitful communicative process.“ But it can

only be successful if there is that energy which crosses

over boundaries, an energy from which Mikesch derives

her strength.

Elfi Mikesch spoke to Manfred Geier, writer for the

Sueddeutsche Zeitung, among others, and professor

for German Literature and Language at the

University of Hanover

18 Kino 2/2002

Film und Video

Untertitelung Gerhard Lehmann AG


• Laser Subtitling on Film • Video Subtitling in Broadcast Quality • DVD Subtitling with specially developed fonts,

such as DVD Script Hardy TM • Subtitling for all Computer Programmes (or other disc-based systems)

• Translation to and from all Languages • Final Check and In-House Editing of all Subtitles and Translations • Voice-overs

• Digital Editing in PAL and NTSC • Standard Conversions • 3D Graphics in PAL and NTSC • Telecine

• Video Transfer into all Standard Formats • Inspection of Broadcast Material

• Audio and Video for the Internet and Multimedia

…and many other services!


WETZLARER STR. 30 . D-14482 POTSDAM-BABELSBERG . TEL: +49 331 704 74-0 . FAX: +49 331 704 74-99


World Sales Portrait CINEPOOL



”Going to the movies means, for me, going to a magical and wonderful

place,“ says Cathy Rohnke, head of CINEPOOL. ”It

means visiting my dreams. The cinema is where my dreams, good

and bad, come alive on the big screen and I can share them with

others. You can happily call me a movie maniac! If I were down to

my last dime, I’d still spend it on a ticket!“

Rohnke, whose CV includes music, dance and theater, studied at

Munich’s Ludwig-Maximilian-University and the city’s film school.

At the same time, she says, “I did everything that’s possible to do

in the film scene – carrying cables, director’s assistant-ing, whatever.“

After working in New York and San Francisco, she returned home

and opened a sponsorship company, ”meeting many people with

good ideas and no money and bringing them together with people

who could realize them.“ Which is how she came to her next job;

banking! For the next six years, she headed the HypoVereinsbank’s

marketing communications department.

”Whenever somebody asked,“ she says, ”I’d say it was everything

bright which flickered! I was involved with multimedia and interactivity,

and together with Bavaria Film Interactive, I built the

first business-TV association in Germany.“

But Rohnke just couldn’t leave the cinema alone, so ”alongside

the bank I took on a teaching position at Leipzig University in

Dramaturgy and Script Development. And last year I told myself

I had to think seriously about where my emphasis is. I decided

it was with the cinema. I met up with TELEPOOL, CINE-

POOL’s owners, and since January 2002 I’ve been the new


Established in 1989 as TELEPOOL’s theatrical department TELEPOOL’s shareholders

German public broadcasters Bayerischer Rundfunk, SWR Holding GmbH, Mitteldeutscher

Rundfunk and Swiss Television Offices in Munich, Zurich, Los Angeles Head of

Theatrical Sales CINEPOOL Dr. Cathy Rohnke Additional contact Wolfram

Skowronnek Main fields of activity world-wide distribution of feature films Regular

attendance of the following film markets Berlin, Cannes, MIFED Number of

titles on offer 75 Percentage of German titles on offer 90% Buyers include

Alliance Atlantis, Artificial Eye, Best Film, Columbia Tristar, Fine Line Features, Gaga

Communications, Mikado, Musidora, Orler, Pandora Most well-known titles currently

on offer Anansi, Berlin Symphony, Help, I’m a Boy!, NOGO, The White

Sound Best-selling titles currently on sale Knockin’ on Heaven’s Door,

Enlightenment Guaranteed, Now or Never, Gloomy Sunday

CINEPOOL · A Dept. of Telepool Europaeisches

Fernsehprogrammkontor GmbH

Sonnenstrasse 21 · 80331 Munich/Germany · phone +49-89-55 87 60 · fax +49-89-55 87 62 29

www.telepool.de · email: rohnke@telepool.de, skowronnek@telepool.de

”There is not such a thing as a typical CINEPOOL film.

Important for us is less the film’s nationality and more its direction.

We sell to the world. It’s not set in stone that it has to be

German-language. We also have titles from Robert Altman,

Chen Kaige, Andrzej Wajda and Krzysztof Zanussi

in our portfolio.“

For a woman who proudly boasts, ”I go to the cinema to watch

everything!“, and who numbers Fargo, The Full Monty,

Night of the Hunter and Touch of Evil among her

favorites, it is the cinemagoer who counts.

”For me, and that goes for CINEPOOL, too, the film has to

be entertaining. People pay money to see it and they expect

something for it. They want a performance and the film has to

deliver one.“

CINEPOOL is a company keen, says Rohnke, ”to work with

movies that travel world-wide. There is a new generation of

filmmakers in Europe waiting to be discovered. Usually we take

on movies on a rough cut basis. But there are exceptions, such as

the new Doris Doerrie film, Nackt (Naked), where we

stepped in after reading the wonderful script.“

Like many, she sees ”the new media providing new possibilities of

viewing films, new ways of delivering them. But it doesn’t mean

that the Internet is the end of the cinema. Quite the opposite; it

will help increase the audience, especially as a marketing tool.

However, I prefer going to a cinema to devour films and popcorn.

I like the idea of being able to put together my own film evening.

But then I want to watch that on my large-screen TV in my living

room, not on the PC.“

20 Kino 2/2002

Dr. Cathy Rohnke, Wolfram Skowronnek (photo © Kathrin Stetter), photographed at the ARRI cinema in Munich

World Sales Portrait CINEPOOL

CINEPOOL’s current Cannes catalogue covers a wide range,

from the renowned German documentary maker Thomas

Schadt’s Berlin Symphony (Berlin – Sinfonie einer

Grossstadt cf. p.44) – a remake of the Walther Ruttmann

1920s masterpiece – to Anansi (cf. p.42), a heartbreaking story

of three African refugees, which features music by reggae star

Shaggy, The White Sound (Das Weisse Rauschen), a

film about the tragedy of a young schizophrenic (starring Daniel

Bruehl), and the family fantasy film Help, I’m a Boy! (Hilfe,

Ich bin ein Junge!) round up the portfolio.

Kino 2/2002

”We’ve also acquired a wonderful Austrian film, NOGO, from

Dor Film,“ says Rohnke. ”NOGO is about three couples,

the stories told parallel, à la Tarantino, and takes place at a

petrol station. The first couple are Meret Becker and Oliver

Korritke, the second Jasmin Tabatabai and Juergen

Vogel and the third Mavie Hoerbiger and Michael

Ostrowski. They’re all actors you’ve seen elsewhere but not as

good as in this film. It’s exciting and explosive, in the true meaning

of the word.“

If this isn’t the stuff of dreams, what is?

Simon Kingsley spoke to Cathy Rohnke


Producers’ Portrait MTM Medien & Television Muenchen

Established in 1993 by producers Gloria Burkert, Andreas Bareiss and Peter Herrmann, MTM produces for

the majority of German broadcasters (ProSieben, Westdeutscher Rundfunk, Bayerischer Rundfunk, Mitteldeutscher

Rundfunk and ZDF) as well as for the cinema. The company scored an international success with the co-production of

Romuald Karmakar’s The Deathmaker (Der Totmacher), which was the German entry in the 1997 race

for the OSCAR for Best Foreign Language Film. Produced in 1995, the film received three German Film Awards and was

awarded the Bavarian Film Award, the Hesse Film Prize, as well as the Coppa Volta at the Venice Film Festival. MTM’s

production of The Bubi Scholz Story (Die Bubi Scholz Story, 1998) for ARD was another success, receiving

the German Camera Prize, the Bavarian Television Award as well as the German Television Award. The company has also

enjoyed fruitful collaborations over the years with directors Dominik Graf and Friedemann Fromm in the field of

TV movies. Among MTM’s other credits are Jan Schuette’s Fat World (Fette Welt, 1997) and Roland Suso

Richter’s A Handful of Grass (Eine Handvoll Gras, 1999). In 2001, the company – which also has an outpost,

MTM West Television und Film GmbH, in North Rhine-Westphalia – produced three features: Caroline

Link’s Nowhere in Africa (Nirgendwo in Afrika), Dominik Graf’s Berlinale 2001 competition entry A Map

of the Heart (Der Felsen), and Urs Egger’s Epstein’s Night (Epsteins Nacht).

MTM Medien & Television Muenchen GmbH · Siegfriedstrasse 8 · 80803 Munich/Germany

phone +49-89-3 83 97 20 · fax +49-89-38 39 72 30 · www.mtm-medien.de · email: mtm-munich@mtm-medien.de



”When we decided to come together, the first idea was just to

produce good films“, recalls Andreas Bareiss who joined forces

with fellow producers Gloria Burkert and Peter

Herrmann in December 1993 to set up the production company

MTM Medien & Television Muenchen.

At that point in the early 1990s, it would have been too much of

a risk to have focused primarily on films for the cinema. ”Instead,

we said that we would make good television on a high-quality

narrative level in the field of 90-minute TV movies“, Bareiss


This strategy certainly seems to have paid off as the company’s

reputation in the industry was made, in particular, through its

collaborations with Dominik Graf on such productions as

Frau Bu lacht (1995), Der Skorpion (1997) and Deine

besten Jahre (1998), and with Friedemann Fromm on

Perfect Mind (1996), Spiel um Dein Leben (1997), and

Zum Sterben schoen (1999).

”These films resulted from a common understanding of the film

medium and film language“, Bareiss explains, ”about how I

approach a narrative in a film and which stories I want to tell“.

Most of MTM’s television work has been done with the public

broadcasters and, as with certain directors, the company has also

built up a bond of trust with commissioning editors ”because they

should also share what we think and not just be the ones who do

the financing“.

But how does the company work in practice with three strong

producer personalities under one roof?

”I think the quality of MTM is that we have three extremely

different characters and we don’t present competition for each

other“, Bareiss says. ”The things which each one wants to

produce come about from their own very special take on the

stories and that then leads to the collaboration with the directors“.

Looking back at their first ten years of activity, he admits that it

would seem ”that Peter has done the larger projects like The

Bubi Scholz Story, Nowhere in Africa, and the projects

with Guenter Rohrbach – A Handful of Grass and

Fat World – , while I am more the one for melodramas and

romantic comedies, and Gloria has stayed with the drama and the

crime thriller. But that has just turned out that way.“

”In fact, we are like three small individual production platforms“,

Bareiss suggests, pointing out that before embarking on a project,

all three look to see ”whether it fits our corporate identity.

We resisted for years from doing certain projects because they

did not conform to our brand. When we set the company up in

1993, we said that we would define ourselves through our brand

name ’MTM’ and not through our own names. The idea is that

the brand should be worth something, one should be able to trust

the whole, not just the individual“.

In addition, MTM is not a ’here today, gone tomorrow outfit’

making the fast, easy money. ”We are looking to the long term“

Bareiss declares. ”We have not said that we want to be

profitable in five years, but are aiming instead to do this in 10

years. The kinds of films we are making have a very long lead-in

time, realization in the medium term, and then exploitation in

the long term“.

”For example, we optioned the rights for Nowhere in Africa

in 1995 and the film was released in the cinemas in 2001, and TV

and video revenues will follow. All this takes time – which perhaps

contradicts the Zeitgeist – but we want to create a value chain because

we know that one can also show our films in ten years’ time“.

22 Kino 2/2002

Andreas Bareiss, Gloria Burkert, Peter Herrmann (photo © Walter Wehner)

Producers’ Portrait MTM Medien & Television Muenchen

After having a regular output each year of TV movies, it was

nevertheless quite a step for the company to then embark on

tackling three features – Epstein’s Night, A Map of the

Heart, and Nowhere in Africa – more or less at the same

time last year.

For Bareiss, though, it was a logical step in the company’s development

after its involvement in countless TV movies which, on the

one hand, had scored with both critics and audiences and, on the

other, were not that far away from many German feature films as

far as their production values were concerned.

”We thought that we might possibly succeed in being able to produce

popular feature films with the same demands on quality

which we had made for the TV movies“, Bareiss explains.

”The idea was to create a brand for the cinema and make it

unmistakably clear with three films in one swoop where we see

our future“, he adds.

The first of the trio to open in the cinemas - Caroline Link’s

Stephanie Zweig-adaptation Nowhere in Africa, starring

Juliane Koehler and Merab Ninidze – has developed into

something of a sleeper success for distributor Constantin

Film. Launched on 27 December 2001 with 229 prints, the film

still had the same number circulating through German cinemas

over two months later and passed the one million admissions

mark at the beginning of March 2002.

As Bareiss points out, Link’s film is one of those films like

Chocolat or The English Patient which takes a while to

find its predominantly female audience. But find it it does. The

audiences for such upmarket titles tend to be spread over several

weeks because a cinema visit for them is a real event which has to

be specially arranged – with the booking of a babysitter and so on.

”It’s not important for me to get 11 million [admissions] just

once“, Bareiss jests in allusion to last year’s box-office hit

Manitou’s Shoe (Der Schuh des Manitu). ”I’d like that as

well, of course! But I want to produce ten films in the next ten

years which each are seen by a million. I am more for stability than

for speculation about a particular success“.

Kino 2/2002

Meanwhile, in the immediate future, MTM has projects in

development which see it working with partners outside of the

German-speaking area and with newcomer filmmakers.

The co-production with France’s MACT Productions on

Nina Grosse’s coming-of-age story Olgas Sommer (cf. p.34)

”is a very organic development“, according to Bareiss. ”Parts of

the story are set in a southern country like Spain or France.

Moreover, the director studied in France and is very francophile.

And the German-French Film Academy and the mini-treaty in the

co-production agreement were also supporting factors which

made it easier for our French partner to come onboard“.

For a second project, MTM will serve as the junior partner on a

Austrian-Hungarian-German co-production (Dallas) to be set in

Transylvania and directed by Robert Pejo. ”It is a central

European story with a cinematic language that comes from the

center of Europe“, Bareiss says and points out that MTM

would not get involved in co-productions just for the sake of it

”but only when a film says something we think will be of interest

to our audience in Germany“.

As far as working with newcomer directors, he admits that

MTM has not done much in this area although the three

producers are always keeping their eyes and ears open to know

what new talents are coming out of the film academies.

A project now in preparation is with Kai Pieck – Ein Leben

lang kurze Hosen tragen about the child murderer Juergen

Bartsch – which will be made within the WDR/Filmstiftung

NRW ”Six Pack“ initiative. And Bareiss is working with the

English-born screenwriter Nick Baker-Monteys on a

comedy with the working title 42 about a psychoanalyst who is

mistakenly diagnosed with a brain tumor and suspects that his

patients might not be so crazy after all …

Martin Blaney spoke to Andreas Bareiss


“Am See“ by Ulrike von Ribbeck

Kino news


Film Conference in Cologne

The Filmstiftung NRW invites European producers to an

international film conference within the framework of the

Media Forum North Rhine-Westphalia from 18 - 20

June 2002. For three days, filmmakers and representatives

from the film industry will meet to make new contacts,

exchange ideas and discuss new trends.

While the co-production meeting will provide an opportunity

to pitch new projects and find partners for international coproductions,

the discussion rounds will be dedicated to the

future of German film. Topics will include the various strategies

of larger and smaller distributors, the complicated business

relationship between bankers and film producers, as well

as the difficult situation of marketing German films abroad.

A further point of focus will be the prospects of the expanding

East European market. For further information, please


Filmstiftung NRW, phone +49-2 11-93 05 00 or

email: info@filmstiftung.de

Extraordinary Cinema Year

in Germany

The run at the German box offices carries on and the film

industry continues to announce new records - that is the

conclusion of the German Federal Film Board’s (FFA)

official analysis of the year 2001. For the first time in ten

years, cinema attendance in Germany increased by 16.7%, a

percentage plus far greater than that in France, England or the

United States. A total of 177.9 million cinemagoers were

registered; statistically seen, that’s 2.2 cinema visits per capita.

With a turnover of Euro 987.2 million, the box offices scored

a plus of over 20 percent.

And German productions experienced a similar increase of

interest. For the first time in years and with more than 10.5

million admissions, a German film, Manitou’s Shoe (Der

Schuh des Manitu), topped the annual hit list. Eight other

local films, including four children’s films, drew in audiences of

over one million viewers.

Complete details of the analysis and statistics can be downloaded

from the FFA’s new website at www.ffa.de. The

recently re-launched website is more user friendly and offers a

search function to navigate the user through the FFA’s exten-

sive statistical and informational catalogue. The services are

divided into seven categories: profile of the FFA, film subsidy

law and other regulations, press services, funding departments,

market data, publications, as well as important links to

institutions and organizations in the German and international

film industries. Whether you’re in London, Paris or Rome –

just one click is all you need: www.ffa.de.

New Faces at the Export-Union

The position of the Export-Union’s representative for the

USA/East Coast and Canada has been divided up into two

separate areas of work, given the central role the two regions

play both in the festival and production/distribution scenes. In

the future, two people will be responsible for looking after the


With immediate effect, the representative for USA/East

Coast is the film agent Oliver Mahrdt. The New Yorker of

German descent has been working in the international film

business since 1994 and is the sole owner of the Hanns

Wolters Agency, one of the oldest talent agencies in New


The newly created post of representative for Canada has

been taken by the German scholar and media marketing

expert Martina Neumann. She has also been working for

some time in the film and media industry - as a producer for

ProSieben and the head of marketing for the e-business company

Proxicom Germany, among other things.

The USA/East Coast and Canada had been looked after by

the Canadian-Austrian film expert Brigitte Hubmann until

the end of 2001.

At the Munich headquarters of the Export-Union, the project

manager Julia Basler has started her maternity leave; she

has been succeeded by Stephanie Weiss, who has been

working for the Export-Union as a PR assistant since 2000 and

will now be responsible for the organization of the four

Festivals of German Cinema in Europe. The new PR assistant

is Cornelia Klimkeit, who was previously a member of

the organization team for the Rencontres Internationales

Paris/Berlin Festival.

Contact details for all Export-Union employees and

foreign representatives can be found at:

www.german-cinema.de under ”About Us“.

Martina Neumann

Kino 2/2002

Oliver Mahrdt (photo © Karin Kohlberg, NY)

Manuel Blanc and Hamburg’s harbor in

"Dream, Dream, Dream"

Location Bavaria at Home

and Abroad

This spring, Universal Studios, Los Angeles, for the first

time will provide the setting for a presentation of Bavarian

know-how in film technique and location qualities. Organized

by the State Ministry of Economy, Transportation and

Technologies in cooperation with Bavaria Film International

and the Munich Chamber of Commerce, the highprofile

film and video expo CineGear 2002 will be the

forum for Bavarian production service companies and the

Film Commission Bavaria, headed by Anja Metzger.

From 31 May to 1 June, anyone interested in shooting in

Bavaria can receive information about the latest developments

in local film production, equipment, locations and film funding.

In April and May, the Film Commission Bavaria also

participated in the world’s most important AFCI Locations

Trade Show in Santa Monica and was present in the

German Pavilion at Cannes’ Marché International du Film

(MIF). Back home in Bavaria, a new service will be of use to

anyone in need of historical buildings for a film project:

through a mediator, the Film Commission Bavaria has

gained access to private castles all over the state and is now

able to offer them to film productions. Further information

under: www.location-bayern.com.

France in Hamburg

Three new German-French co-productions, all supported by

the FilmFoerderung Hamburg, are well underway in

Hamburg and the south of France. Dream, Dream,

Dream (cf. p. 46), directed by Anne Alix, is the first

feature-length film to be accompanied by the German-French

master class at the Film Academy Baden-Wuerttemberg

in Ludwigsburg. The film, a co-production between

Euripide Productions, Integral Film, Wide Eyes,

Diana Film and T & C Film, was shot in part and edited

and mixed in its entirety in Hamburg. In addition to the

positive experience with the various film services in the

area, Alix also found a musician for the film score. ”We are

always very happy when foreign producers find Hamburg to

be an interesting location for their productions as well as postproduction“,

says Eva Hubert, managing director of the

FilmFoerderung Hamburg.

Kino 2/2002

Kino news

The city also plays an important role in Pandora Film’s

German-French co-production Leben toetet mich

(Vivre me tue). Jean-Pierre Sinapi’s film, based on the

novel of the same name by Paul Smail, tells the story of

two North African immigrant children coming to terms with

their lives in Germany and France in different ways. The

documentary Sanary – Letzte Station vor dem

Vergessen from Bertina Henrich (a co-production from

Le Mer du Son Cinéma and Filmtank Hamburg)

describes the town Sanary-sur-Mer as a vanishing point and the

”last tip of Europe“. Between 1933 and 1941, the small beach

town on the Mediterranean coast became a large colony of

German writers, artists and intellectuals fleeing from the

Nazi regime.

FFA Industry Tigers 2002:

Over Euro 21 Million in

Reference Funding

For about 100 producers

and distributors,

the trip to

Berlin at the end of

March 2002 was well

worth it: the Filmfoerderungsanstalt


awarded over Euro

21 million (Euro 3.7

million more than

the previous year)

to the most

successful films of

the cinema boom year 2001. The Industry Tiger 2002

awards were based on the number of tickets sold per film.

And the winners were: the producers MMC Independent,

Kinowelt Filmproduktion and Olga-Film, as well as

the distributors Constantin Film Verleih, Senator

Film Verleih and Kinowelt Film Verleih.

FFA president Rolf Baehr was particularly happy that children’s

films and documentaries were also represented at this

year’s awards presentation. The reference funding was divided

up among features (58.56%), children’s films (39.02%) and

documentaries (2.42%).

Three German Competition

Entries in Nyon

No less than twelve German films and German-international

co-productions were shown at the 8th Festival Visions

du Réel (22 - 28 April 2002) in the Swiss town of Nyon,

of which three German and three German-international

works were screened in the festival’s two competition


The international competition featured: A Bookshelf on

Top of the Sky by Claudia Heuermann, a portrait of

the New York composer and saxophonist John Zorn, the film

diary Wie ich ein Hoehlenmaler wurde by Jan


“Benny X“ by Florian Baxmeyer

Kino news

Peters, and Volker Koepp’s new film Uckermarck. In

addition, the German-international co-production

Brodwey.Chemoye Morye by Vitali Manski

(Russia/Germany/Czech Republic) was shown.

Two German-international co-productions were presented as

part of the Regards Neufs, the festival’s competitive section for

debuts: Ima by Caterina Klusemann (Germany/USA)

and Kazi Ni Kiku by Ayako Mogi (Germany/Japan).

Other German and German-international co-production films

at the festival included: Hwa-Shan District, Taipei by

Bernhard Schreiner, Die eiserne Maria by

Ingeborg Jacobs and Hartmut Seifert, Phoenix aus

der Asche by Simone Fuerbringer (Switzerland/

Germany), Thomas Pynchon – A Journey into the

Mind of P. by Donatello and Fosco Dubini

(Germany/Switzerland), as well as Das Haus/1984 and

Volkspolizei/1985 by Thomas Heise.

Founded in 1969, the documentary film festival Visions du

Réel in Nyon is one of the most important of its kind in

Europe. It is primarily dedicated to films ”which, through a

conscious formal and aesthetic choice, impart depictions of

past and present realities as well as their personal and imbued

interpretation“ (festival catalogue).


Mitteldeutsche Medienfoerderung’s



Over the last years the Mitteldeutsche Medienfoerderung

(MDM) has sent out a wide range of impulses

which contributed to the dynamic development of structures

in the media industry in Thuringia, Saxony and Saxony-Anhalt.

Alongside strengthening the performance of central German

companies in the film, television and media industries, MDM

pursues in the medium-term the following aims: increasing the

”regional effects“ in the area, the continuation of the settlement

policy and the strengthening of networking within the

industry, as well as the establishment of a practice-oriented

range of training and qualification programs. As a result, cities

in central Germany have recently hosted such well-known

European seminars as Cartoon Creativity, Discovery Campus,

EAVE, Pymalion and Sagas.

Since its foundation in 1998, MDM has supported more

than 250 projects with more than Euro 40 million. Unique

landscapes, remarkable building structures, as well as places

and motives of cultural interest make central Germany an

impressive film location. MDM offers wide-range support in

the areas of material and project development, production

support, distribution and sales, as well as screenings and presentation.

Increasingly, the aspects of further training and market-orientated

film marketing are taken into consideration in

the overall support scheme. One important criteria for support

is a lasting regional effect in the states of Saxony-Anhalt,

Thuringia and Saxony. This year MDM is supporting a number

of historical projects (Luther, Freiherr von Trenck),

road movies (including a German-Finnish-Latvian co-production

under the Mika Kaurismaeki’s direction) and many

other interesting projects. One of the highlights of the 2002

support year will be Peter Greenaway’s trilogy of 120minute


Faster, Easier, Closer: Location

Search Engine for Berlin and

Brandenburg with New Looks

and Functions

Filmboard Berlin-Brandenburg’s location office, the

Berlin Brandenburg Film Commission (bbfc), is

launching its new website, www.bbfc.de, with many new

features. Via some 600 locations with over 6,800 photographs,

moviemakers from all over the world can take a closer look

at Germany’s capital region and get straight through to the

”Gate to Germany“. The Berlin Brandenburg Film

Commission is a producer’s first stop.

The huge database HELP, which was first introduced at the

Berlin Film Festival two years ago, functions as an electronic

directory to give producers all the information they need on

locations, shooting permissions and the appropriate contacts.

It now holds more than 2,200 addresses to give the user an

idea of ”who’s who“ in film in Berlin and Brandenburg.

Scriptwriting Camp Freiburg

A script development training for young writers and script

talents organized by the Filmfoerderung Baden-

Wuerttemberg (MFG), the Hessian film fund, the

Goethe Institute Freiburg, TaunusFilm GmbH Wiesbaden and

ZFP will take place in Freiburg from 28 May to 2 June 2002

and in Wiesbaden from 2 - 7 September 2002. The new

concept will feature: Scriptwriting for Documentary Features

Kino 2/2002

”Hochzeitstag“ by Tanja Brzakovic

by Pepe Danquart, who took home an OSCAR

in 1994 for his widely-acclaimed short Black Rider

(Schwarzfahrer, 1993) and a German Film Award for Best

Direction for the feature Heimspiel (2000). For further

information please contact:

MFG Filmfoerdung Baden-Wuerttemberg

Karin Frey

Breitscheidstrasse 4 · 70174 Stuttgart/Germany

phone +49-7 11-90 71 54 04

fax +49-7 11-90 71 54 50

www.mfg.de/film · email: frey@mfg.de


5th Time in Cannes

The Export-Union once again presents a selection of short

films by students of German films schools under the banner

”Next Generation“ during the Cannes Film Festival.

Eight new films from six German film and art academies make

up this year’s ”Next Generation“ lineup which will have its

world premiere in Cannes on Sunday, 19 May 2002 at

20:00 h in the Cinema Star 1. The members of the independent

expert jury for this year’s annual selection were:

Heinz Badewitz (Hof Film Days), Astrid Kuehl

(Short Film Agency Hamburg) and Thomas

Blieninger (Blickpunkt Film).

”Next Generation 2002“ proudly presents: Hochzeitstag

by Tanja Brzakovic and Benny X by Florian

Baxmeyer (both from the Hamburger Filmwerkstatt for Film

Studies of the University of Hamburg); Am See by Ulrike

von Ribbeck and Red Gourmet Pellzik by Andreas

Samland (both from the German Film & Television Academy

(dffb) Berlin); Fenster mit Aussicht by Vera Lalyko

(Academy of Media Arts (KHM) Cologne); Morgenstund

by David Emmenlauer (Academy of Television & Film in

Munich); Das Rad by Chris Stenner, Arvid Uibel, and

Heidi Wittlinger (Film Academy Baden-Wuerttemberg in

Ludwigsburg); and Undercover by Susanne Buddenberg

(”Konrad Wolf“ Academy of Film & Television in


The program will also feature a special presentation of

Johannes Kiefer’s Gregor’s Greatest Invention

Kino 2/2002

Kino news

(Gregors groesste Erfindung), which was nominated

this year for an OSCAR in the category Best Short Film-Live


Following the presentation in Cannes, which is also supported

by the six major regional film funds, ”Next Generation

2002“ will be shown at all Festivals of German Cinema

organized by the Export-Union in key cities of the international

film industry, including Rome, Madrid, Paris, London,

Los Angeles, Warsaw, Sydney, Melbourne and Hong Kong.

4th Location Tour Southwest

From 27 to 28 June 2002, the MFG film fund kindly invites

filmmakers to join this year’s location tour. The two-day

discovery of shooting-locations in Baden-Wuerttemberg,

providing a large variety of contrasting motifs, will start out in

Freiburg, the beautiful university town close to the French and

Swiss borders, and leads into the heart of the Southern Black

Forest. For further information please contact:

MFG Filmfoerdung Baden-Wuerttemberg

Uschi Freynick

Breitscheidstrasse 4 · 70174 Stuttgart/Germany

phone +49-7 11-90 71 54 08

fax +49-7 11-90 71 54 50

www.mfg.de/film · email: freynick@mfg.de


“Fenster mit Aussicht“ by Vera Lalyko

”Gregor's Greatest Invention“ by Johannes Kiefer

Kino news


Third Festival of German

Cinema in Rome

The third annual Festival of German Cinema in Rome

(11 - 15 April 2002) was met with great response by audiences

and the media alike. Five directors and two actors were personally

on hand to present their films to sold-out screenings.

The festival opened with Andreas Dresen’s Grill Point

(Halbe Treppe), who, together with lead actor Axel

Prahl, introduced the film.

Maria Speth and Benjamin Quabeck were also in

Rome to present and discuss their films The Days

Between (In den Tag hinein) and No Regrets

(Nichts Bereuen).

Three other films which have already found Italian distributors

and will soon be released in Italy were shown as ”avantpremieres“:

The Experiment (Das Experiment) by

Oliver Hirschbiegel; the documentary Black Box BRD

by Andres Veiel, who was also present for a Q&A session

after the film, and Sandra Nettelbeck’s Bella Martha,

presented by lead actor Sergio Castellito.

The program also included: Esther Gronenborn’s alaska.de,

Christian Petzold’s two films The State I Am

In (Die Innere Sicherheit) and Something to

Remind Me (Toter Mann), a midnight presentation of

Wim Wender’s Ode to Cologne (Viel Passiert –

Der BAP Film), Fritz Lang’s silent classic Metropolis

with live musical accompaniment, and the short film program

Next Generation 2001. Within the framework of the

”Next Generation“ presentation, Oliver Seiter’s film The

Pilot was named Best Short Film by the Italian magazine and

Internet website 35mm.it.

The event was supported by the Federal Government

Commissioner for Cultural Affairs and the Media, the German

Federal Film Board (FFA) and the six regional film funds, in

cooperation with the Goethe-Institue Inter Nationes

and the German Embassy in Rome. The festival was also sponsored

in part by Bavaria Film International, Transit Film, the

Friedrich-Wilhelm-Murnau Foundation, UICC, 35mm.it, Radio

Città Futura, Scuola Nazionale di Cinema and Erdinger


German Films Win at Creteil

and Mar del Plata

Sandra Nettelbeck’s Bella Martha was awarded the

Jury’s Grand Prix for the Best Feature Film at the 24th

Festival International Films de Femmes in

Creteil, which is regarded as one of the most important

international meeting places for women filmmakers and as a

springboard for new directors.

All three German-international competition entries were

among the prize winners at the 17th Festival International

de Cine de Mar del Plata (7 - 16 March

2002). The international jury at Mar del Plata awarded the

German-international co-production Taking Sides

(Germany/United Kingdom/France) by István Szabó with

the Silver Ombú for Best Direction. Another Silver Ombú was

presented to the Swedish actor Stellan Skarsgard in the

category of Best Actor for his role in the film, while cinematographer

Lajos Koltai received the prize for Best Cinematography

from the Association of Cinematographers (ADF

Jury) and the Kodak Award.

The Silver Ombú for Best Actress went to Kirsten Dunst

for her role in the German-international competition entry

The Cat’s Meow by Peter Bogdanovich (Germany/

United Kingdom), while one of the jury’s two special

mentions was presented to the German-international

competition entry Annas Sommer (Anna’s Summer)

by Jeanine Meerapfel (Germany/Spain/Greece).

Recognized by the FIAPF, the Festival International de

Cine de Mar del Plata is one of the current twelve

so-called ”A-Festivals“ and thus one of the most important

film events worldwide.

Sandra Nettelbeck (director of "Bella Martha")

Kino 2/2002

Jeanine Meerapfel (director of ”Anna’s Summer“,

Yves Pasquier (producer of ”Taking Sides“), Gustav Wilhelmi

(the Export-Union’s foreign representative in Argentina)



more than 100 news items

more than 200 festival portraits

more than 500 German films

more than 1000 other useful things

to know about German Cinema

Export-Union des Deutschen Films GmbH · Sonnenstrasse 21 · 80331 Munich/Germany

phone +49-89-5 99 78 70 · fax +49-89-59 97 87 30 · email: export-union@german-cinema.de

Der alte

Affe Angst

Original Title Feature Film Cinema Genre Drama

Production Company Neue Bioskop Film, Munich in co-production

with TV-60 Filmproduktion, Munich, BR, Munich

With backing from Filmboard Berlin-Brandenburg,

FilmFernsehFonds Bayern Producers Eberhard Junkersdorf,

Dietmar Guentsche, Bernd Burgemeister Director Oskar

Roehler Screenplay Oskar Roehler Director of Photography

Hagen Bogdanski Editor Uli Schoen Music by Martin

Todsharow Production Design Birgit Kniep-Gentis Principal

Cast André Hennicke, Marie Baeumer, Vadim Glowna, Hilde van

Mieghem, Wolfgang Joop Format 35 mm, color, cs, Dolby

Digital Shooting Language German Shooting in Berlin

from 9 April to end of May 2002


Neue Bioskop Film GmbH · Dietmar Guentsche

Rosenheimer Strasse 143d · 81671 Munich/Germany

phone +49-89-4 09 09 20 · fax +49-89-40 90 92 20

email: info@bioskop.de

Production is currently underway in Berlin on Oskar Roehler’s

latest feature Der alte Affe Angst, starring André

Hennicke (Something to Remind Me/Toter Mann,

2001), Marie Baeumer (Ode to Cologne/Viel Passiert

– Der BAP Film, 2000/2001) and Vadim Glowna (No

Place to Go/Die Unberuehrbare, 2000).

As with Roehler’s No Place to Go, which was shown in

Cannes’ Directors’ Fortnight sidebar two years ago and won

countless prizes in Germany and abroad, the new film also

borrows autobiographical elements from Roehler’s life and that

of his family.

While Roehler’s mother, the writer Gisela Elsner, provided

the inspiration for the figure played by Hannelore Elsner in

No Place to Go, one strand in Der alte Affe Angst with

the successful film director Robert (Hennicke) getting in touch

with his father Klaus (Glowna) after a gap of five years only to

learn that he is suffering from prostate cancer, was based on

Roehler’s own experience of being reunited with his father

shortly before his death.


Marie Baeumer, Oskar Roehler (photo © Marco Meneen)

Scene from ”Das fliegende Klassenzimmer“

(photo © Rolf v.d. Heydt/Bavaria Film/Lunaris)

”It is not exactly a continuation of No Place to Go, although

there are some elements there“, Roehler says. “This film is

closer to life, it is set in the present and will be narrated in a more

realistic way“.

”The parallel story between the couple Robert and Marie

(Baeumer) came about from my observation of a lot of situations

and long-term relationships where one always had the feeling

that men have difficulties committing themselves sexually to one

partner“, Roehler explains, adding that ”there is a unconditional

nature to this couple’s love and they are bound to one another

by fate, but the male partner cannot hold out indefinitely“.

”For once, it will really be a quiet film for me. I want to have a

relatively quiet and straightforward camera; there will be no

black-and-white, no stylization and everything will be unobtrusive“,

he continues.

Der alte Affe Angst marks the second collaboration between

Roehler and producers Junkersdorf and Guentsche – they

had previously worked together on the RTL TV movie Latin

Lover (1999) which also starred Marie Baeumer – and

it is the first project under the roof of Junkersdorf’s new company

Neue Bioskop Film.


Das fliegende


Original Title Das fliegende Klassenzimmer Type of

Project Feature Film Cinema Genre Family Production

Companies Bavaria Filmverleih und Produktion, Munich,

Lunaris, Munich, in cooperation with ZDF, Mainz With backing

from Mitteldeutsche Medienfoerderung, FilmFernsehFonds

Bayern, Filmfoerderungsanstalt (FFA) Producers Uschi Reich,

Peter Zenk Director Tomy Wigand Screenplay Henriette

Piper, Hermine Kunka, based on the novel of the same name by

Erich Kaestner Director of Photography Peter von Haller

Editor Christian Nauheimer Music by Niki Reiser, Biber

Gullatz (songs), Moritz Freise Principal Cast Ulrich Noethen,

Sebastian Koch, Piet Klocke, Anja Kling, Hauke Diekamp, Teresa

Vilsmaier Format 35 mm, color Shooting Language

German Shooting in Munich and Leipzig and surroundings from

February to April 2002 German Distributor Constantin Film

Verleih GmbH, Munich

PR Contact:

Just Publicity · Bianca Feilkas

Erhardtstrasse 8 · 80469 Munich/Germany

phone +49-89-20 20 82 60 · fax +49-89-20 20 82 89

email: info@just-publicity.de

Kino 2/2002

World Sales:

Bavaria Film International

Dept. of Bavaria Media GmbH · Thorsten Schaumann

Bavariafilmplatz 8 · 82031 Geiselgasteig/Germany

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


email: bavaria.international@bavaria-film.de

Producer Peter Zenk is quite a specialist in adapting the children’s

classics of Erich Kaestner for the cinema after having

also produced Joseph Vilsmaier’s Charlie & Louise (Das

doppelte Lottchen, 1993), Caroline Link’s Annaluise

and Anton (Puenkchten und Anton, 1999), and

Franziska Buch’s Emil and the Detectives (Emil und

die Detektive, 2001).

But the latest adaptation – Das fliegende Klassenzimmer –

posed a few challenges for producers and screenwriters alike as it

didn't have ”a continuous, exciting storyline like in Emil and the

Detectives“, as producer Uschi Reich points out.

The story centers on young Jonathan who has already flown out

of eight boarding schools and thinks it will be only a matter of

time before he is sent packing from his new school at the

Thomaskirche in Leipzig. But the headmaster takes him under his

wing and the boys in his dormitory accept him into their gang. All

kinds of adventures are about to happen ...

Casting the adult roles came together quite easily with such leading

German actors as Ulrich Noethen (The Slurb/Das

Sams, 2001) in the role of the headmaster and Sebastian

Koch (The Tunnel/Der Tunnel, 2001) as the mysterious

figure of the ’non-smoker’. But finding the right 10 to 12-year-olds

for the children’s parts proved much harder. ”We definitely didn’t

want to cast the parts with children who had already appeared in

the last Kaestner films“, Zenk recalls. ”And the demands were

extremely high because we are dealing here with big lead roles“.

As a consequence, almost a thousand children passed through the

casting sessions before the producers decided on a number of

film debutants such as 12-year-old Hauke Diekamp for the

part of Jonathan, alongside established child actors like Teresa

Vilsmaier and Constantin Gastmann.

The Euro 5 million production of Das fliegende Klassenzimmer

marks director Tomy Wigand’s second outing

into feature films after his award-winning debut Soccer Rules!

(Fussball ist unser Leben), starring Uwe Ochsenknecht,

from 2000.


Gate to Heaven

Original Title Gate to Heaven German Title Tor zum

Himmel Type of Project Feature Film Cinema Genre Love

Story Production Company Veit Helmer Filmproduktion,

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

With backing from Filmboard Berlin-Brandenburg, Filmfoerderungsanstalt

(FFA) Producer Ulf Israel Director Veit

Helmer Screenplay Veit Helmer, Gordon Mihic Director of

Photography Joachim Jung Production Designer

Alexander Manasse Principal Cast Valera Nikolaev, Masumi

Makhija, Miki Manojlovic, Udo Kier, Michael Chynamurindi,

Sotigui Koyate Format 35 mm, color, cs Shooting Language

English Shooting at Frankfurt airport from 11 June - 24 August

2002 German Distributor Prokino Filmverleih GmbH,


Kino 2/2002

Masumi Makhija

in production

World Sales:

Bavaria Film International

Dept. of Bavaria Media GmbH · Thorsten Schaumann

Bavariafilmplatz 8 · 82031 Geiselgasteig/Germany

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


email: bavaria.international@bavaria-film.de

Production cranks up for 11 weeks at the beginning of June on

Veit Helmer’s second full-length feature Gate to Heaven

(Tor zum Himmel) at locations in Frankfurt’s international


This project, which had been gestating for the last seven years,

sees Helmer collaborating with the Serbian screenwriter

Gordon Mihic, whose screenplays including Emir

Kusturica’s award-winning Time of the Gypsies and

Black Cat, White Cat.

”Gate To Heaven is a love story set at an airport, a film about

luggage handlers and cleaning women who dream of becoming

stewardesses“, explains Helmer. ”It will be shot in English because

people from all over the world will appear in the film and

they will speak with an accent, but that is intended“.

Helmer and Mihic researched together ”behind the scenes“

at the airport in Frankfurt, away from the check-in counters and

departure lounges, with Mihic writing the screenplay in Serbian

since he can speak neither English nor German. Helmer then

wrote the last draft of the script with the support of the

éQuinoxe script workshop and also participated in other

European initiatives such as Moonstone and EAVE to hone

and fine-tune the screenplay. ”I was interested in the international

response and to see how the project was accepted“, he recalls.

Although the project has been a long time in preparation – with a

break for the production of Tuvalu (1999) –, Helmer says that

the film’s story was ”always topical and is so more than ever. The

film title has many meanings: on one level, it is means the dream

of flying, of coming to Europe and Germany. But, sometimes, the

characters in the film are up on the roof cleaning and look down

on the passengers in the departure lounge - then heaven is below


As was the case with Tuvalu, casting for his new film was also a

marathon task with the director meeting actors in places as far

apart as Los Angeles, London, Tashkent, Bombay and Moscow to

find the right people for his acting ensemble. The lineup includes

Kusturica-star Miki Manojlovic and Germany’s Udo Kier

as well as the ”Bollywood“ actress Masumi Makhija, and

Valera Nikolaev (U-Turn).



Gruesse aus


Original Title Gruesse aus Dachau! English Title Hello

Dachau! Type of Project Feature Film Cinema with TV version

Genre Documentary Production Company Egoli Tossell

Film, Berlin, in cooperation with BR, Munich, SWR, Stuttgart

With backing from FilmFernsehFonds Bayern, Filmboard

Berlin-Brandenburg Producers Jens Meurer, Dr. Claudia

Gladziejewski (BR) Director Bernd Fischer Screenplay Bernd

Fischer Directors of Photography Knut Schmitz, Bernd

Fischer Editor Inge Scheider Music by Haindling Format

Digital Video to 35 mm blow-up, 1:1.85, color, 90 min (TV

version 52 min) Shooting Language German Shooting in

Dachau from October 2001 to August 2002 German

Distributor Salzgeber & Co Medien GmbH, Berlin

World Sales:

d.net.sales · Heino Deckert

Peterssteinweg 13 · 04107 Leipzig/Germany

phone +49-3 41-2 15 66 38 · fax +49-3 41-2 15 66 39

www.d-net-sales.de · email info@d-net-sales.com

It’s not easy being German! Especially if you come from an infamous

small town in Bavaria, known throughout the world as the

site of the first Nazi concentration camp. And while Dachau

dreams of being nothing more than as average as anywhere else

in Germany, that is impossible.

Sixty years after World War II, the town remains trapped in an

eternal Nazi time loop. Dachau. It’s a name the residents can’t

shake off. It’s on the check and credit cards issued by the local

bank, it’s written on their birth certificates and, worse still, the

dreaded DAH car registration means they carry it with them in

the open wherever they go.

While there is no magic solution for disconnecting Dachau’s name

from its past, it doesn’t stop the good citizens from trying. In

2001, for example, they represented themselves at Berlin’s

International Tourism Fair, the world’s largest, praising Dachau’s

Annual Beetroot Festival. And they are currently pressuring

Lufthansa to finally name one of their aircraft after Dachau; other

German towns have long since received the honor.

In fact, there is no end to the convulsions that the people of

Dachau put themselves through to deal with their legacy. And in

that way, they are the most German of Germans!

”I’m a storyteller,“ says Bernd Fischer (who spent his teenage

years growing up in Dachau). ”Everyone knows the name and the


Max Mannheimer in ”Hello Dachau!“ (photo © Bernd Fischer)

horrors of the concentration camp, but what about the town

which has become synonymous with the crimes?“ Hello

Dachau!, the veteran film, television and advertising cameraman

Fischer’s directorial debut, is ”a fascinating, sympathetic,

tragically funny and most topical film about Germans, Germany

and the way they are dealing with their loathsome past.“

His guides in this tourist-video-with-a-twist are a group of charismatic

townspeople, taking him through their ”own personal

Dachau“. We meet former prisoners, ex-politicians, the Don

Quixote of Dachau, the son of a former concentration-camp

guard, his father and the landlord of a strange oompah-pub. All of

them are united by living in Germany’s most (in)famous town.

Das Jesus Video

Original Title Das Jesus Video English Title Jesus Video

Type of Project Mini-Series Genre Thriller Production

Companies Ratpack Filmproduktion, Munich, GFP Medienfonds,

Berlin, in cooperation with F.A.M.E., Munich, ProSieben, Munich,

KirchMedia, Munich Executive Producers Christian Becker,

Anita Schneider Director Sebastian Niemann Screenplay

Martin Ritzenhoff, based on the novel of the same name by

Andreas Eschbach Director of Photography Gerhard Schirlo

Principal Cast Matthias Koerberlin, Naike Rivelli, Manou

Lubowski, Heinrich Giskes, Hans Diehl Format 35 mm, color,

1:1.85 Shooting Language German Shooting in Casablanca

and Ouarzazate/Morocco, from 26 February to 14 May 2002

PR Contact:

KirchMedia GmbH · Program Press & PR

Silvia Fernandez

phone +49-89-99 56 23 80 · fax +49-89-99 56 26 40


email: Silvia.Fernandez@KirchGruppe.de

World Sales:

Beta Film GmbH

Robert-Buerkle-Strasse 2 · 85737 Ismaning/Germany

phone +49-89-99 56 27 44 · fax +49-89-99 56 27 03


Sebastian Niemann’s fast-paced adventure thriller Jesus

Video, based on Andreas Eschbach’s international best-seller

of the same name, is a first on several counts.

To begin with, it is the first production by Christian Becker

and Anita Schneider’s new outfit Ratpack Filmproduktion;

the first project to be backed by the media investment

fund German Film Productions (GFP); ProSieben’s

first in-house two-parter and also screenwriter Martin

Ritzenhoff’s first foray into the thriller genre from comedy.

Niemann, who had previously worked with Becker on the

mystery TV movie Das Biikenbrennen – Der Fluch des

Meeres (1999) and the English-language feature 7 Days To

Live (2000), became curious after reading the hardback edition’s


A year or so later, producer Becker came to him with the offer

to direct an adaptation for television and Niemann didn’t hesitate

in accepting.

Kino 2/2002


”I liked the idea of two parts because you then have the chance to

be broader in your storytelling and for the whole story to be

expanded“, Niemann explains, ”It was an interesting challenge -

and a completely new experience for me - to tell a story over

three hours“.

At the center of the plot, Matthias Koerberlin (who appeared

in the Berlinale competition film Amen (2002) by Costa-

Gavras this year), plays the young man Steffen helping out at a

German archeological excavation in Israel when he finds a 2,000year-old

skeleton holding the instructions for a video camera made

in 2003. Although his theory of a time-traveler who made a video

of Jesus is ridiculed by everyone, soon he is being pursued by the

German embassy and a secret Vatican order, among others, who

are all very keen to find the camera and video …

Budgeted at Euro 4.45 million, the production also features

Ornella Muti’s daughter Naike Rivelli as Steffen’s feisty love

interest Sharon, who helps him out of many a tight spot, and was

shot on location at Ouarzazate – partly using the sets from The

Bible series – and Casablanca in Morocco.

Der Laufbursche

Original Title Der Laufbursche (working title) English Title

Baran’s Way (working title) Type of Project Feature Film

Cinema Genre Coming-of-Age Story, Drama Production

Company Cotta Media Entertainment, Berlin, Peter Stockhaus

Filmproduktion, Hamburg, in co-production with ZDF, Mainz

With backing from Filmfoerderung Hamburg, Filmboard

Berlin-Brandenburg, BKM Producers Ralph E. Cotta, Peter

Stockhaus Commissioning Editor Claudia Tronnier (ZDF)

Director Yueksel Yavuz Screenplay Yueksel Yavuz Director

of Photography Patrick Orth Principal Cast Cagdas

Bozkurt, Leroy Delmar, Nazmi Kirik, Necmettin Cobanoglu,

Susanna Rozkosny, Sunay Girisken Format 35 mm, 1:1.85, color,

90 min Shooting Language German, Turkish, Kurdish (partly

subtitled) Shooting in Hamburg from February to April 2002

German Distributor Pegasos Filmverleih, Cologne

World Sales:

Cotta Media Entertainment GmbH · Ralph E. Cotta

Suarezstrasse 43 · 14057 Berlin/Germany

phone +49-30-8 91 66 11 · fax +49-30-30 82 43 39

email: cottamedia@t-online.de

Kino 2/2002

Matthias Koerberlin (photo © Ratpack Filmproduktion)


Cagdas Bozkurt, Leroy Delmar in


Set in Hamburg’s immigrant district of Altona, home to the world

famous red light district, the Reeperbahn, Yueksel Yavuz’s

Der Laufbursche tells the unusual story of the friendship

between two young men.

Baran (Cagdas Bozkurt) is a Kurd whose relatives have helped

him to come to Germany after the death of his parents. Raised in

a home, his asylum application was rejected just shy of his sixteenth

birthday. No stranger to hard work, he survives by running

errands (the best translation of Der Laufbursche is actually

the American term ”gofer“, as in the boy who goes and fetches

things) for a Turkish fast-food restaurant.

His errands take him from the finest apartments to the lowest

clip joints; confronting him with the district’s many realities.

Occasionally he meets up with a Bosnian woman who works in a

cafe or a homeless man who ”lives“ on a park bench. There’s even

a Turkish girl who is keen on him. But to all of them, Baran

remains a closed book.

It is not until he encounters the seventeen-year old African,

Chernor (Leroy Delmar), that his life gains impetus. Chernor is

also an illegal and stateless immigrant. They are drawn together.

But while Chernor tries to finance his future, emigration to

Australia, by dealing drugs, Baran’s past catches up with him.

He keeps encountering an old Kurdish man and one day learns the

man was responsible for his parents’ death. Baran wants to avenge

them but doesn’t know how.

During an argument between Kurdish radicals at a party, Baran

comes into possession of a gun. But when he confronts the old

man he is unable to act. Shortly afterwards, the worst happens:

Baran and Chernor are stopped by the police. Baran escapes but

Chernor is arrested. He has already lost enough people in his life,

he can’t stand to lose another, one to whom he feels so close.

Baran retrieves his gun and heads for the police station to free his


Kurdish-born Yavuz came to Germany in 1980 when he was sixteen.

A keen stills photographer, he started experimenting with

film in 1990, going on to make several documentaries.

His 1998 feature film April Children (Aprilkinder), a portrait

of a Kurdish family whose three children struggle to carve out

a niche for themselves between the old and new worlds, won the

Audience Award at Saarbruecken in 1999.



Goetz George, Klaus J. Behrendt

Nach Haus in

die Fremde

Original Title Nach Haus in die Fremde (working title)

Type of Project TV Movie Genre Tragicomedy

Production Company Colonia Media, Cologne for WDR,

Cologne Producer Sonja Goslicki Director Andreas Kleinert

Screenplay Karl-Heinz Kaefer Director of Photography

Johann Feindt Editor Gisela Zick Music by Andreas Hoge

Principal Cast Goetz George, Klaus J. Behrendt, Ulrike

Krumbiegel, Serguy Moya, Christine Schorn Format Super 16

mm to video transfer, 16:9, color, 90 min Shooting Language

German Shooting in Cologne and surroundings in February

and March 2002

World Sales:

Bavaria Media Television · Carlos Hertel

Bavariafilmplatz 8 · 82031 Geiselgasteig/Germany

phone +49-89-64 99 22 36 · fax +49-89-64 99 22 40

email: tvinfo@bavaria-film.de

A young family has just moved into its new home. The renovations

still haven’t been finished as the telephone rings one night:

Grandfather has been knocked down by a car.

Richard (Goetz George) is only slightly hurt, but it’s obvious

the old man’s senile dementia, or Alzheimer’s Disease, is getting

worse and he is no longer able to take care of himself.

Richard moves in and, to begin with, they all find humor in the

many slight mishaps. At first, they are convinced they can help him

deal with the situation. Oliver prints computer labels for the

doors so grandfather can find his way around the house. Jochen

increases health insurance payments for his father while Anja gives

up her part-time job. But it soon becomes clear to them that their

decision has serious implications for all their lives.

The one flicker of hope is Karin, Richard’s long-time lover, whose

presence causes him to become his old self and act normally. As

Richard’s illness progresses, the family finds itself deeper and

deeper in crisis. When the old man accidentally starts a fire, that is

the final straw for Anja. She moves out, leaving the three men

alone. What will Jochen do? Will the family survive?

Goetz George, a nationally-known star of film and television, is

also one of the few German actors to have achieved international


recognition, with films such as the fake-Hitler-diaries comedy

Schtonk! (director Helmut Dietl, 1992) and The

Deathmaker (Der Totmacher, director Romuald

Karmakar, 1995).

Producer Sonja Goslicki has worked closely with George

since 1996 on the re-launched police series Schimanksi (after the

detective of the same name), also for broadcaster WDR. Among

the many honors she has received are the Golden Camera, the

German Television Award, the Bavarian Television Award and a

Golden Gong.

Colonia Media is a subsidiary of Bavaria Film and specializes

in TV movies (such as the famous ”Scene of Crime“, or Tatort,

films), drama series and documentaries for Germany’s commercial

and public broadcasters. In 2000, Christian Granderath joined

the company. His hit feature production credits include the

comedy Maybe, Maybe Not (Der bewegte Mann)

directed by Soenke Wortmann in 1994, as well as the dramas

The Deathmaker, and Andreas Dresen´s The Policewoman

(Die Polizistin, 2000).


Olgas Sommer

Original Title Olgas Sommer (working title) English Title

Olga’s Summer Type of Project Feature Film Cinema

Genre Coming-of-Age Story Production Company MTM

West Television & Film, Cologne, in co-production with MACT

Productions, Paris, in cooperation with WDR, Cologne With

backing from Filmstiftung NRW, Filmfoerderungsanstalt

(FFA)/CNC co-production treaty Producer Peter Herrmann

Commissioning Editor Andrea Hanke (WDR) Director

Nina Grosse Screenplay Nina Grosse Production Design

Ingrid Buron Format 35 mm, color, Dolby SR Shooting

Language German/French Shooting in Germany and France

from August 2002


MTM West Television & Film GmbH

Peter Herrmann

Richard-Wagner-Strasse 13-17

50674 Cologne/Germany

phone +49-2 21-9 49 72 10 · fax +49-2 21-94 97 21 18

email: mtm-west@mtm-medien.de

World Sales:

Bavaria Film International

Dept. of Bavaria Media GmbH · Thorsten Schaumann

Bavariafilmplatz 8 · 82031 Geiselgasteig/Germany

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


email: bavaria.international@bavaria-film.de

Shooting is set to begin this August on the latest feature by

writer-director Nina Grosse, Olga’s Summer, which also

marks the first foray by German producer MTM into European

co-productions through its Cologne-based outpost MTM West.

”Having a German-French co-production was a very organic

development“, explains MTM’s Andreas Bareiss. ”Parts of

the story are set in a southern country which could be Spain or

France, and Nina Grosse studied in France and is very francophile.

We also didn’t want to cast some of the characters with

actors from Germany because we had the feeling that they

wouldn’t feel French“.

Kino 2/2002

Nina Grosse (photo © Joachim Gern)

In addition, the decision to team up with a French partner –

Antoine de Clermont-Tonnerre of MACT Productions

– was made easier by the existence of the co-production

mini-treaty (signed at the Cannes Film Festival last year by ministers

Tasca and Nida-Ruemelin) and the German-

French Film Academy.

Grosse’s coming-of-age story revolves around the 16-year-old

Olga who has the following philosophy of life:

”Things happen just as you want them to if you firmly believe in

them and do the following:

1. Take everything you can get straightaway because it will no

1. longer be there tomorrow.

2. Giving up is boring.

3. So is being scared, unless it is being scared to death.

4. Never stay any longer than necessary in one place. That

4. particularly applies to the place where your family is staying.

5. As far as love is concerned, only wild men can be taken into

5. consideration.

6. Adventures are sacred.

7. Betrayal can be atoned for by death."

As Grosse explains, ”this feeling of being alive determines the

story’s dramaturgy. The principle of realism is temporarily cancelled;

what is now in force are the laws of the fairytale, of one’s

own images and desires, the laws of the welcome coincidence.

Olga in Wonderland“.


Die Paepstin

Original Title Die Paepstin English Title Pope Joan

Type of Project Feature Film Cinema Genre Drama

Production Company UFA Film & TV Produktion, Potsdam

Producer Norbert Sauer Director Volker Schloendorff

Screenplay Michael Hirst, based on the novel of the same

name by Donna Woolfork Cross Format 35 mm, color

Shooting Language English Shooting in Europe from

Summer 2003

PR Contact:

UFA Film & TV Produktion GmbH · Kristian Mueller

Dianastrasse 21 · 14482 Potsdam-Babelsberg/Germany

phone +49-3 31-7 06 03 78 · fax +49-3 31-7 06 03 76

www.ufa.de · email: kristian.mueller@ufa.de

”This is my dream team“, enthuses US authoress Donna

Woolfolk Cross about the plans of OSCAR-winning German

director Volker Schloendorff, UK screenwriter Michael

Hirst (Elizabeth) and producer Norbert Sauer for a big-

Kino 2/2002

in production

screen adaptation of her historical novel Pope Joan which has been

a bestseller hit in Germany.

Set in 9th century Europe, Pope Joan tells the fascinating and

extraordinary story of Johanna von Ingelheim who disguised

herself as a man and sat on the papal throne for two years as

Pope John Anglicus. (This episode in history was apparently

general knowledge until the 17th century before Johanna’s

existence was removed from the Vatican’s manuscripts).

”I can’t think of anyone I’d rather have make this movie and I

have every faith in Volker and Michael, who really understand the

weight of the book and Joan the woman", Cross adds.

”I had promised myself no more literary masterpieces“ admits

Schloendorff who has made literary adaptations something of

a speciality in his directorial career with versions of books by

Grass, Proust, Musil, and Frisch. ”But this is real storytelling. It

starts with a strong character, about how a gifted child had a thirst

for knowledge, and my first aim is to portray the passion of the

main character rather than show a wide fresco of the time“.

Producer Norbert Sauer recalls that it was really difficult to

get the film rights to Cross’ novel: three years ago, an option had

been taken by New Line, but then 18 months later, he learned

that they were free again and took the plunge. While a final figure

has yet to be fixed for the budget, Sauer is perfectly aware that

Pope Joan will be ”big budget, more than triple average, but we

have talked to international financial partners and distributors and

the impression is that everyone is convinced that it would be a


Following the motto of ”don’t aim for America and fail at home“,

Sauer says that they ”have a European film in mind for the

European market", but also with appeal for the USA. ”If it has

a strong European identity, it will be more successful“, Sauer



Norbert Sauer, Volker Schloendorff, Donna Cross, Michael Hirst


Gerhard Hahn, John Williams, Stefan Beiten, Nikolaus Weil

SimsalaGrimm –

The Movie

Original Title SimsalaGrimm – The Movie Type of Project

Feature Film Cinema Genre Animation Production

Company BAF Berlin Animation Film, Berlin, Hahn Film, Berlin

Executive Producer Greenlight Media, Berlin Producers

Stefan Beiten, André Sikojev, Nikolaus Weil, John H. Williams

Director Gerhard Hahn Screenplay Rob Moreland Music

by Alexander Janko Voices of Sarah Michelle Gellar, Freddie

Prinze Jr., Sigourney Weaver, George Carlin Format 35 mm,

color, 1: 1.85, Dolby SR Shooting Language English

Shooting at Hahn Film Studios from March 2002


Greenlight Media AG

Gormannstrasse 22 · 10119 Berlin/Germany

phone +49-30-7 26 20 00 · fax +49-30-7 26 20 02 22


email: info@greenlightmedia.com

World Sales:

Greenlight International B.V.

Lorentzweg 46

B1221 EH Hilversum/The Netherlands

phone +31-3 56-42 06 77 · fax +31-3 56-42 06 88


email: info@greenlightint.com

Over the last three years, television screens in some 130 countries

around the world have been graced by the highly successful 26

half-hour TV animated series SimsalaGrimm, based on the

classic fairy tales of Germany’s Brothers Grimm.

Now, producers Greenlight Media are going one step forward

and building on the series’ popularity with the making of a feature

animation film inspired by the Grimm stories and targeted at an

international family audience.

Scripted by Rob Moreland, SimsalaGrimm – The Movie

is set in the fairytale land of Simsala and shows what happens

when the balance of good and evil is brought out of kilter. The


Grimm fairytales are turned completely topsy turvey as witches fly

around on Harley Davidsons, Rumpelstilzchen proves to be an

ideal single parent father, and poor Snow White gets up to some

wild adventures.

At the center of the story is a love triangle between Ella (whose

voice is spoken by Buffy the Vampire Slayer-star Sarah

Michelle Gellar), her ideal prince and an unknown true love

who turns out to be Rick, the palace dish-washer (Freddie

Prinze Jr.) – and, of course, a fairytale story would not be complete

without an evil mother-in-law (Sigourney Weaver) and

a magician (George Carlin).

The voices were recorded at the beginning of March in Los

Angeles, and the actual classic 2D animation work was begun

shortly afterwards by 300-400 animators at Berlin-based Hahn

Film, with production on the Euro 14.3 million project to last

for around 16 months.

SimsalaGrimm – The Movie (which will have the additional

title of Happily (N)ever After in the USA) is the first of a

planned long-term collaboration between Greenlight and John

Williams’s Vanguard Films, the OSCAR-winning producer of

last year’s animation hit Shrek, to produce internationally

marketable animation features for the whole family.

Die Suenderin

Original Title Die Suenderin Type of Project Feature Film

Cinema Genre Psycho-Thriller Production Company Hager

Moss Film, Munich With backing from FilmFoerderung

Hamburg, FilmFernsehFonds Bayern Producers Kirsten Hager,

Eric Moss Director Sherry Hormann Screenplay Bernd

Schwamm, Kit Hopkins Director of Photography Hanno

Lentz Editor Eva Schnare Format 35 mm, 1:1.85, color, 110

min Shooting Language German Shooting in Hamburg

from September to October 2002


Hager Moss Film GmbH · Kerstin Hager, Eric Moss

Rambergstrasse 5 · 80799 Munich/Germany

phone +49-89-2 06 08 00 · fax +49-89-20 60 80 10

www.hager-moss.de · email: info@hager-moss.de

Her fate was sealed years ago. Now it’s caught up with her!

As Cora Bender prepares for a swimming trip with her husband

and young son, she’s really planning her own death by drowning.

But her planned ’accident’ is interrupted when she is called back

to shore by her child, who is hungry.

She peels him an apple and is then further disturbed by a couple

who have started necking. Cora stands up, walks over to them

and stabs the man repeatedly in the throat, killing him.

At first, the police, in the form of Detective Rudolph Grovian, are

interested only in the facts, but run up against a wall of silence and

forgotten motives. But as Cora’s memory returns, she begins to

remember the person who sealed her fate, her sister Magdalena.

As Cora’s obsessions and her repressed past overwhelm her, it is

Grovian who also finds himself forced to stand on the edge of the

abyss, looking into the bottomless depths below.

Die Suenderin (the title translates ”The Sinner“) is the latest

film from German-American Sherry Hormann, and tells the

Kino 2/2002


story of a journey into the unknown, into the very secrets of the

human soul.

”The figures are bound within a dramatic corset,“ says Hormann.

”I want to show breaks and feelings beyond the normal.

The spectator should not be able to work out what awaits him

or her. There is no more intelligent way to be entertained.“

In fact, Hager Moss Film’s first-ever feature was Hormann’s

Silent Shadows (Leise Schatten, 1992) which was awarded

the Bavarian Film Award and won three German Film Awards. Their

next collaboration, Women Are Simply Wonderful

(Frauen sind was Wunderbares, 1993) won the Bavarian

Film Award for newcomer producers. Hormann’s other films

with Hager Moss include the features Doubting Thomas

(Irren ist maennlich, 1995) and Widows (Erst die Ehe,

dann das Vergnuegen, 1997). She is also the director of the

feature drama, Private Lies (2000).

Hager Moss Film also produces commercials. The two-track

approach pays rich dividends, as Eric Moss explains: ”Directors

working in advertising have moved over into features and, at the

same time, we have worked with film directors on commercials

because this gives them a chance to try out new things and work

with more precision. It’s very good training and pays the rent!“

Sugar Orange

Original Title Sugar Orange Type of Project Feature Film

Cinema Genre Drama Production Company Jost Hering

Filmproduktion, Berlin With backing from Filmstiftung NRW

Producer Jost Hering Director Andreas Struck Screenplay

Andreas Struck Director of Photography Andreas Doub

Editor Philipp Stahl Music by Erlandas Principal Cast Lucas

Gregorowicz, Ellen ten Damme Format 35 mm, color, 1:1.66

Shooting Language German Shooting in Cologne and the

state of Brandenburg in Spring 2003


Jost Hering Filmproduktion · Jost Hering

Winterfeldtstrasse 31 · 10781 Berlin/Germany

phone +49-30-21 75 68 56 · fax +49-30-21 75 68 58

www.josthering.de · email: josthering@aol.com

Lukas is Sugar, Clemens is Orange. Together, they are two tenyear-old

boys who are inseparable. More than just playmates, they

share a unique bond which seems predestined to last a lifetime.

Until, that is, powerful emotions come to the fore and a misunder-

Kino 2/2002

Sherry Hormann


Andreas Struck

in production

standing leads to a rift which tears both them and their world


Twenty years later, Lukas is still terrified of being abandoned. He

survives by forming loose relationships which don’t threaten him.

Then one day he meets Lena who turns his feelings upside down

and awakens his inner child, the one still searching for unconditional


While there is never a guarantee of security, there forms a bond

of trust, and through Lena, Lukas again makes contact with

Clemens. After years of silence, they are finally able to exorcise

their ghosts in an explosion of emotion.

”The characters in this film aren’t driven by outside events,“ says

writer-director Andreas Struck, ”but by their internal experiences

and expectations. Just as Lukas’ physical handicap mirrors

his emotional handicap after being abandoned, so I intend to

visualize the internal processes.“

Born in Cologne in 1965, Struck studied Comparative Literature

in Bonn and Berlin before embarking on a career in theatrical

direction. His film credits include Edward II (1991) and

Wittgenstein (1993, personal assistant to Derek Jarman

on both films) as well as director’s assistant and script supervision

for Sandra Nettelbeck’s Loose Ends (Unbestaendig

und kuehl, TV, 1995), Christian Petzold’s Cuba Libre

(TV, 1996) and Maria Teresa Camoglio’s Bandagistenglueck


As well as contributing to the magazines Filmfaust and Theater

Heute, since 1993 he has been part of the Panorama team at the

Berlin Film Festival and since 1997 he has coordinated the activities

of the European Film Promotion in Cannes and Pusan/South


Sugar Orange sees Struck renewing his partnership with

director of photography Andreas Doub, editor Philipp

Stahl and composer Erlandas. Together, they all worked on

Struck’s debut film, Chill Out (1999), which has played at

festivals around the world, including Berlin, Edinburgh,

Gothenburg, Toronto, Sao Paulo, Rio de Janeiro, Palm Springs,

San Francisco, Los Angeles, Montreal, Hong Kong and Sydney.





Turn-of-the-century Vienna. Lieutenant Fritz Lobheimer is having a secret affair with the Baroness

Eggersdorf, but wants to end the relationship because he is constantly afraid of being found out.

However, the Baroness wants to hear nothing of it. In the meantime, the Baroness’ husband

becomes suspicious and returns home early one day. Fritz is able to sneak out unnoticed, but the

Baron finds a strange key - the key that Fritz gave the Baroness to his apartment. Suddenly the

Baron appears one night during a party at Fritz’ apartment - using the key he found, thus revealing

Fritz as his wife’s secret lover. Fritz must then face death when his code of honor compels him to a

duel with the Baron.

Genre Drama, History, Literature Category

Feature Film Cinema Year of Production

1932/1933 Director Max Ophuels Screenplay

Hans Wilhelm, Curt Alexander, Max Ophuels,

based on the play by Arthur Schnitzler Director

of Photography Franz Planer Editor Friedel

Buckow Music by Theo Mackeben Production

Design Gabriel Pellon Producer Christoph

Muelleneisen Production Company Elite-

Tonfilm-Produktion, Berlin Principal Cast Paul

Hoerbiger, Magda Schneider, Luise Ullrich, Gustaf

Gruendgens, Olga Tschechowa, Willy Eichberger,

Wolfgang Liebeneiner, Werner Finck, Paul Otto

Length 87 min, 2,378 m Format 35 mm, b&w,

1:1.37 Original Version German Subtitled

Version French Sound Technology Mono

German Distributor Filmkundliches Archiv,


Max Ophuels was born in 1902 in Saarbruecken

and died in 1957 in Hamburg. He began his career as an

actor and director for the theater before he became an

assistant director and dialogue director at the Ufa

Studios in 1930. After a series of comedies, he directed

The Bartered Bride (Die verkaufte Braut,

1932), one of the first sound film versions of an opera.

In 1933, he emigrated to France, followed by time spent

from 1941-1949 in the United States. A selection of

his films includes: Dann schon lieber Lebertran

(1930), Die lachenden Erben (1931), Die verliebte

Firma (1931), Liebelei (1932/1933),

Letter from an Unknown Woman (Brief

einer Unbekannten, 1948), Caught (Gefangen,

1949), The Reckless Moment (Schweigegeld

fuer Liebesbriefe, 1949), La ronde (Der

Reigen, 1950), Lola Montez (1955), and many


World Sales:

Canal+ Images International · Dominique Brunet

Espace Lumière, 5-13 Boulevard de la République · Boulogne-Billancourt Cedex 92/France

phone +33-1-71 75 88 51 · fax +33-1-71 75 87 02

38 Kino 2/2002

Scene from ”Liebelei“ (photo © Filmmuseum Berlin/Deutsche Kinemathek)


Scenes from ”Wintergartenprogramm“ (photo © Filmmuseum Berlin/Deutsche Kinemathek)

On 1 November 1895, the brothers Max and Emil Skladanowsky presented their pioneer film

work and legendary Bioscop program in Berlin's Wintergarten Theater. With live musical accompaniment,

the compilation program included short film sequences with famous artists of the time:

Italienischer Bauerntanz, Komisches Reck, Der Jongleur, Das boxende Kaenguruh,

Kamarinskaja, Die Serpentintaenzerin, Akrobatisches Potpourri, Ringkampf, and

Apotheose, with the Skladanowsky brothers bowing to their audience.

Genre History Category Documentary

Cinema Year of Production 1895

Director Max Skladanowsky Screenplay

Max Skladanowsky Directors of Photography

Max Skladanowsky, Wilhelm Fenz

Production Company Skladanowsky Film,

Berlin Principal Cast the Ploetz-Larella children,

the Milton brothers, Mr. Delaware, Paul

Petra Sandow, Emil and Max Skladanowsky, the

Grunato family, the Tscherpanoff brothers,

Mademoiselle Ancion, Mr. Greiner Length

7 min, 159 m Format 35 mm, b&w, 1:1.37

Original Version silent with German intertitles

German Distributor Transit Film

GmbH, Munich

World Sales:

Transit Film GmbH · Loy W. Arnold, Mark Gruenthal (* no. 23 Spur der Steine was already presented

Dachauer Strasse 35 · 80335 Munich/Germany within the framework of the former series

phone +49-89-5 99 88 50 · fax +49-89-59 98 85 20 ”German Classic Movies“ in KINO 2/1999)

email: transitfilm@compuserve.com

Kino 2/2002

Max Skladanowsky was born in 1863 and died in 1939 in

Berlin. A film pioneer, he experimented in photography together

with his father Carl and brother Emil, and in 1892, constructed a

camera that could capture moving images. In 1885, he introduced

the Bioscop double projector, followed by another new camera

and a single projector in 1896. He started his own business,

Berliner Camerawerk, and later the production and distribution

company Projektion fuer Alle in 1897, hoping to successfully commercialize

his early cinematic inventions, but the growing competition

from the rapidly developing film industry led to the ruin of his

small company. However, his unsurpassed significance as inventor

of Germany's first film camera and projector and his historical

contributions to the entire film industry remain. His films include:

Wintergartenprogramm (1895), Nicht mehr allein

(1896), Am Bollwerk in Stettin (1897), Eine Fliegenjagd

oder Die Rache der Frau Schultze (1913), Die

moderne Jungfrau von Orleans (1914), and Die

Erfindung der Kinematographie im Jahre 1895 in

Berlin (1927), among others.




Lola Montez

Based on the novel La vie extraordinaire de Lola Montèz by Cécil Saint-Laurent, Lola Montez tells

the tragic story of the once notorious courtesan, but now ill and tired Lola Montez, who works in

the circus as the "attraction of the year" answering questions from the audience. When asked about

her love life, she is reminded of her past, which is performed in short sequences in the circus ring:

childhood and early marriage, farewell from Franz Liszt, and successful career. The more respected

her lovers are, the higher she ascends on the trapeze. She reaches the highest point when she tells

the story of her relationship to the Bavarian king, Ludwig I. But after being banished from the

king's court by revolting citizens, her downfall soon follows after a brief affair with a student.

One of the most celebrated examples of both Technicolor and CinemaScope, the German version

of Lola Montez was fully restored in 2002 by the Filmmuseum Munich.

Genre Biopic, Drama, History Category

Feature Film Cinema Year of Production 1955

Director Max Ophuels Screenplay Max

Ophuels, Jacques Natanson, Annette Wademant,

Franz Geiger Director of Photography

Christian Matras Editors Madeleine Gug,

Adolph Schlyssleder Music by Georges Auric

Production Design Jean d'Eaubonne, Willy

Schatz Producers André Haguet, Alfred Zappelli,

Emil E. Reinegger Production Company

Gamma Film, Paris, Florida Films, Paris, Gamma

Film, Munich, Oska-Film, Munch, Union-Film,

Munich Principal Cast Martine Carol, Peter

Ustinov, Anton Wohlbrueck, Henri Guisol, Lise

Delamare, Oskar Werner, Will Quadflieg Length

114 min, 3,093 m Format 35 mm, color, cs

Original Version English/German/French

Sound Technology 4-Channel Magnetic Track

German Distributor Metropolitan, Munich

Max Ophuels was born in 1902 in Saarbruecken

and died in 1957 in Hamburg. He began his career as an

actor and director for the theater before he became an

assistant director and dialogue director at the Ufa

Studios in 1930. After a series of comedies, he directed

The Bartered Bride (Die verkaufte Braut,

1932), one of the first sound film versions of an opera.

In 1933, he emigrated to France, followed by time spent

from 1941-1949 in the United States. A selection of

his films includes: Dann schon lieber Lebertran

(1930), Die lachenden Erben (1931), Die verliebte

Firma (1931), Liebelei (1932/1933),

Letter from an Unknown Woman (Brief

einer Unbekannten, 1948), Caught (Gefangen,

1949), The Reckless Moment (Schweigegeld

fuer Liebesbriefe, 1949), La ronde (Der

Reigen, 1950), Lola Montez (1955), and many


World Sales:

Les Films du Jeudi - Les Films de la Pléiade · Laurence Braunberger

3, rue Hautefeuille · 75006 Paris/France

phone +33-1-40 46 97 98 · fax +33-1-40 46 89 88

email: filmsdujeudi@wanadoo.fr

40 Kino 2/2002

Scene from ”Lola Montez“ (photo courtesy of Filmmuseum Munich)

Madame Dubarry

Emil Jannings, Pola Negri in ”Passion“ (photo © Filmmuseum Berlin/Deutsche Kinemathek)

In a deal to save her lover Count Dubarry from financial ruin, the Parisian milliner Jeanne

Vaubernier (alias Madame Dubarry) becomes the influential wife of the reigning French king, Louis

XV. However much to the dismay of the king's advisor Choiseul, who had planned for his own sister

to marry the king. Choiseul thus starts a campaign to turn the people against the monarch and his

new wife, and Jeanne soon becomes a symbol for the extravagance of the much-hated aristocracy.

When the king dies, Jeanne is ousted by the angry masses and sent to the stakes.

Genre Drama, History Category Feature Film

Cinema Year of Production 1919

Director Ernst Lubitsch Screenplay Fred

Orbing, Hanns Kraely Directors of Photography

Theodor Sparkuhl, Fritz Arno Wagner

Music by Alexander Schirmann (1919), Hans

Joensson (1976) Production Design Kurt

Richter, Karl Machus Producer Paul Davidson

Production Company Projektions-AG Union

(PAGU), Berlin Rights Friedrich-Wilhelm-Murnau-

Foundation, Wiesbaden Principal Cast Pola

Negri, Emil Jannings, Reinhold Schuenzel, Harry

Liedtke, Eduard von Winterstein, Karl Platen,

Paul Biensfeldt, Magnus Stifter Length 92 min,

2,492 m Format 35 mm, b&w, 1:1.37 Original

Version silent with German intertitles

Intertitled Version English German

Distributor Transit Film GmbH, Munich

World Sales:

Transit Film GmbH · Loy W. Arnold, Mark Gruenthal (*no. 26 Faust. Eine deutsche Volkssage, no. 27 Heimat I.

Dachauer Strasse 35 · 80335 Munich/Germany Eine Chronik in 11 Teilen, and no. 28 Deutschland im Herbst

phone +49-89-5 99 88 50 · fax +49-89-59 98 85 20 were already presented within the framework of the former

email: transitfilm@compuserve.com series "German Classic Movies" in KINO 1/1999,

KINO 2/2000 and KINO 4/1999 respectively)

Kino 2/2002

Ernst Lubitsch was born in 1892 in Berlin and died in 1947 in

Hollywood. After studying Acting, he appeared as a comedian in

his first film roles. He had his directorial debut with the film

Blindekuh in 1914. His first comedy Die Austernprinzessin

(1919) was followed closely by Madame

Dubarry (1919), which was a great audience success. In 1922,

he emigrated to the United States where he became one of the

leading directors of Hollywood. Once in Hollywood, he developed

his frivolous style known as the ”Lubitsch touch“. In 1933,

he became an American citizen and took over production at

Paramount. His other films include: I Don't Want to Be a

Man (Ich moechte kein Mann sein, 1918), Carmen

(1918), Anna Boleyn (1920), Sumurun (1920), The

Flame (Die Flamme, 1922), The Marriage Circle (Die

Ehe im Kreis, 1924), Lady Windermere's Fan (1925),

Trouble in Paradise (Aerger im Paradies (1932), the

Hitler satire To Be or Not to Be (Sein oder Nichtsein

(1942), and many, many more.





From Ghana to a deserted coast – from Morocco to Spain – out of desperate need, a group of West

Africans dare the perilous journey to Germany. But their path to the promised land of satellite dishes and

a better life is strewn with obstacles.

In West Africa, the name ”Anansi“ means spider – a well-loved trickster. This ancient mythical character

represents the survival strategies of a people who secure a future for themselves in spite of the most

repulsive conditions.

The main character – Zaza – is played by George Quaye, Ghana’s much adored womanizer in the weekly

soap Taxi. His friend Sir Francis – the wise cracker – is played by Maynard Eziashi, who earned a Silver

Bear at Berlin in 1992 for Mister Johnson and also starred in the film Ace Ventura. Reggae superstar Shaggy

supported the project from the beginning and contributed the title song Why Me Lord. Roman Bunka’s

vivid soundtrack carries the spirit of this road movie – oscillating between laughter and tears. Anansi is an

odyssey full of wonders and sacrifices, African mystic and a love that surpasses all borders.

Genre Drama Category Feature Film Cinema Year of Production

2001/2002 Director Fritz Baumann Screenplay Fritz

Baumann Director of Photography Arturo Smith Editor

Christian Lonk Music by Roman Bunka Production Design

Carsten Lippstock Producers Alena & Herbert Rimbach Production

Company AVISTA FILM, Munich, in co-production with

Brainpool TV, Cologne, Calypso Filmproduktion, Cologne, in cooperation

with ARTE, Strasbourg, BR, Munich Principal Cast George

Quaye, Jimmy Akingbola, Naomie Harris, Maynard Eziashi, Danny

Sapani Casting Daniela Tolkien, Munich, Sam Jones, London Length

80 min, 2,188 m Format 35 mm, color, 1:1.85 Original Version

English Dubbed Version German Sound Technology Dolby

SRD With backing from FilmFernsehFonds Bayern, BKM,

Filmbuero NW, FilmFoerderung Hamburg, MFG Baden-Wuerttemberg,

Kuratorium junger deutscher Film, Filmfoerderungsanstalt (FFA),

MEDIA German Distributor Pegasos Film, Frankfurt

World Sales:

CINEPOOL · A Dept. of Telepool Europaeisches Fernsehprogrammkontor GmbH

Dr. Cathy Rohnke, Wolfram Skowronnek

Sonnenstrasse 21 · 80331 Munich/Germany

phone +49-89-55 87 60 · fax +49-89-55 87 62 29

www.telepool.de · email: rohnke@telepool.de, skowronnek@telepool.de

Fritz Baumann was born in 1950 in Brannenburg.

From 1973-1977, he studied at the Academy of

Television & Film (HFF/M) in Munich. Since 1976, he has

been working as an independent producer, director,

recording supervisor and film editor. His films include:

Mord (1974), Die Pensionierung (1975), Die

Begegnungen (1976), co-direction on Let’s Not

Talk About It (1978) and Dein Kopf ist ein

schlafendes Auto (TV, 1981) with Werner Penzel,

So frei wie der Loewe (1984), D’jubel Wies’n

(documentary, 1985), Woman (documentary, 1989),

The Journey of the Lion (Die Reise des

Loewen, 1993) – winner of the Silver Plaque at Chicago

in 1993 and the New York Times Film Critics’ Award in

1994, Eisen (TV, 1996), six documentary episodes of

Bonn packt (TV, 1999) and Anansi (2001/2002),

among others.

42 Kino 2/2002

Jimmy Akingbola, Naomie Harris (photo © AVISTA FILM)



Annas Sommer

Anna Kastelano is packing up the home that had belonged to her family on a Greek island and is

considering putting it up for sale. However, in these familiar surroundings, she is revisited by

memories of her own past and that of her Sephardic-Jewish family. Anna has not yet got over the

death of her husband Max. She spends the summer on the island, which has become her second

home, trying to come to terms with her solitude.

For the first time, she opens the old family chest. Memories and ghosts rise up, with whom she

cooks, dances and picks figs. She finds old telegrams relating to the fate of her grandmother Anna.

She also discovers the diary of another Anna, her father's first love.

But the present also makes itself felt. Anna meets Nikola and the feelings she experiences intermingle

with her mourning and the moving discoveries about her family. Anna is searching for a path

through the labyrinth of her history and ultimately decides to assume her place in it. Life goes on.

Scene from "Anna's Summer" (photo © Integral Film)

Genre Drama, Family Category Feature Film Cinema Year of Production

2001 Director Jeanine Meerapfel Screenplay Jeanine Meerapfel

Director of Photography Andreas Sinanos Editor Bernd Euscher

Music by Flores Floridis Production Design Alexander Scherer

Producer Dagmar Jacobsen Production Company Integral Film, Berlin,

in co-production with Malena Films, Berlin, FS Production, Athens, El Iman,

Madrid, in cooperation with WDR, Cologne, ARTE, Strasbourg, ERT, Athens,

Canal+ España, Madrid Principal Cast Angela Molina, Herbert Knaup,

Dimitris Katalifos, Rosana Pastor Length 107 min, 3,080 m Format 35 mm,

color, 1:1.85 Original Version German/English/Greek/Spanish Subtitled

Versions English, German, Spanish Sound Technology Dolby SR

International Festival Screenings Montreal 2001, Chicago 2001,

Washington Jewish Film Festival 2001, Thessaloniki 2001, Hof 2001, Luenen

2001, Berlin 2002 (German Cinema), Mar del Plata 2002 (in competition)

With backing from Filmstiftung NRW, BKM, Filmboard Berlin-

Brandenburg, Greek Film Center, Ministerio de Educación (Spain), Eurimages

German Distributor Basis-Film Verleih, Berlin

World Sales:

Media Luna Entertainment GmbH & Co. KG · Ida Martins

Hochstadenstrasse 1-3 · 50674 Cologne/Germany

phone +49-2 21-1 39 22 22 · fax +49-2 21-1 39 22 24

www.medialuna-entertainment.de · email: info@medialuna-entertainment.de

Kino 2/2002


Jeanine Meerapfel was born in 1943 in Buenos

Aires/Argentina. Born to parents who fled Germany

during the Nazi regime, she has consistently engaged

themes involving identity, politics and emigration into her

films. Her first feature, Malou (1981), won the FIPRESCI

Award at Cannes and the Gold Hugo at Chicago. She has

directed numerous features and documentaries, several of

which, including La Amiga (1989) and Amigomío

(1995), have received awards in Spain, Cuba and

Germany. She has lived in Germany since 1964, where she

became a professor at the Academy of Media Arts

Cologne (KHM) in 1990. Her films include: the collective

social drama Zwickel auf Bizyckel (1968), In the

Country of My Parents (1981), Melek Leaves

(1985), Days to Remember (1987), Desembarcos

– When Memory Speaks (1989), La Amiga, and

Anna´s Summer (2001), among others.




Berlin – Sinfonie einer Grossstadt


”I think most people who feel a rush of excitement watching my Berlin film don’t know where it’s coming from.

If I managed to give people a sense of that excitement, of allowing them to experience the city of Berlin, then I

achieved what I set out to do and proved that I was right all along.“

(Walther Ruttmann)

In 1927, Walther Ruttmann shot his majestic documentary Berlin. Symphony of a City. In September of

that same year, this milestone of the silent film era was premiered at Berlin’s Tauentzien Palast with a

specially composed live soundtrack.

Seventy-five years later, Berlin is in the midst of a uniquely vibrant and exciting transition. Ten years

after the fall of the Berlin Wall, the re-energized drive of history is bringing forth a new city. People from

all over the world and from all walks of life are coming together to form a new metropolis, one reminiscent

in many ways of 1920s Berlin.

While retaining some of the original’s basic dramatic principles and characteristics – organizing every

shot in the film according to a symphonic structure, depicting one day in the life of the city using several

main themes, and shooting on black-and-white 35 mm film – this remake also strives to establish its

own cohesive pictorial language and narrative structure.

Genre History Category Documentary Cinema

Year of Production 2001/2002 Director

Thomas Schadt Screenplay Thomas Schadt

Director of Photography Thomas Schadt

Editor Thomas Wellmann Music by Helmut

Oehring, Iris ter Schiphorst Producers Nico

Hofmann, Thomas Schadt Production

Companies teamWorx, Berlin, Odyssee-Film,

Berlin Length 82 min, 2,300 m Format 35 mm,

b&w, 1:1.66 Sound Technology Dolby SR

With backing from Filmboard Berlin-

Brandenburg, MFG Baden-Wuerttemberg, BKM

German Distributor ottfilm GmbH, Berlin

Thomas Schadt was born in 1957 in Nuremberg. During his Photography studies, he

worked as a film projectionist, photography assistant and theater photographer, followed

by studies at the German Film & Television Academy (dffb) in Berlin from 1980-1983.

He then founded his own film production company, Odyssee-Film, and has been working

since as a freelance documentary filmmaker, photographer and cinematographer. Since

1991, he has been teaching at various film academies, including the dffb and the Film

Academy Baden-Wuerttemberg in Ludwigsburg. His films include: his graduation film

Was hab i in Hawaii verloren (1982), Unterwegs nach immer und

ueberall – Eine Deutschlandreise (1985/1986), Der Autobahnkrieg (1991)

- winner of the Adolf Grimme Award, Grenzgaenge – Die Deutschen auf der

Suche nach einer Identitaet (1993) and Augenzeugen – Die Fotografen

Hoepker, Lebeck, Moses und Scheler (1998) together with Reiner Holzemer,

Der Kandidat – Gerhard Schroeder im Wahlkampf ’98 (1998) – winner of

the German Television Award for Best Documentary in 1999, Hans im Glueck –

Deutsche Banker an der Wall Street (1999), My Way – James Last

(2001), Berlin Symphony (2001/2002), and many, many more.

World Sales:

CINEPOOL · A Dept. of Telepool Europaeisches Fernsehprogrammkontor GmbH

Dr. Cathy Rohnke, Wolfram Skowronnek

Sonnenstrasse 21 · 80331 Munich/Germany

phone +49-89-55 87 60 · fax +49-89-55 87 62 29

www.telepool.de · email: rohnke@telepool.de, skowronnek@telepool.de

44 Kino 2/2002

Scene from ”Berlin Symphony“ (photo © Thomas Schadt)



Die Datsche

An East German married couple, Elke and Arnold, are attacked in their

weekend cottage by two robbers, Asche and Big. It quickly becomes

clear however, that there's nothing in the cottage worth stealing. Arnold

and Elke become the helpless victims of the crooks’ aggression. But then,

unforeseen circumstances fuse attacker and victim together in a tragicomic

union that explodes just as quickly as it came together.

Michael Kind, Catherine Flemming (photo © Equinox Film)

Genre Drama Category Feature Film Cinema Year of

Production 2001 Director Carsten Fiebeler

Screenplay Carsten Fiebeler, Ulv Jakobsen Director of

Photography Erik Krambeck Editor Christian

Nauheimer Music by Tarwater Production Design

Steffen Gnade Producers Sabine Manthey, Bernhard

Koellisch Production Company Equinox Film, Leipzig, in

co-production with Koppfilm, Berlin, in cooperation with

MDR, Leipzig Principal Cast Catherine Flemming, Michael

Kind, Uwe Kockisch, Nils Nellessen Casting Drews Casting

Length 86 min, 2,353 m Format 24p-HD Blow-up

35 mm, color, cs Original Version German Subtitled

Version English Sound Technology Dolby SR With

backing from Mitteldeutsche Medienfoerderung

World Sales:

Equinox Film GmbH & Co · Sabine Manthey

Gohliser Strasse 6 · 04105 Leipzig/Germany

phone +49-3 41-5 66 56 90 · fax +49-3 41-5 66 56 99

www.equinoxfilm.de · email: info@equinoxfilm.de

Kino 2/2002

Carsten Fiebeler studied Directing at

the ”Konrad Wolff“ Academy of Television

& Film in Babelsberg. His graduation film

Revanche was awarded the Panther Prize

at the Filmfest Munich in 1999. His short

film Strassensperre won the Panorama

Short Film Award at Berlin in 1998. In addition

to various commercials and short films,

has also directed the TV movie Himmlische

Helden (2001) and Home

Truths (2001).



Dream, Dream, Dream

Joachim and Franco are standing on a cliff in Norway at midnight, watching the sun set. But

instead of disappearing behind the horizon, the sun rises again. Both men have reached their

destination, and now it is time to return back home again. But they have a long road ahead of

them, over 3,000 kilometers, and not much in common. There is tension in the air, but they

will have to put up with each other for a while.

Joachim is a young, somewhat stiff scientist who is on a journey to fulfill his deceased father’s

dream. During the journey, he learns a lot about himself and his much-hated but also muchrespected

father. Franco, on the other hand, is a fiery-tempered Italian who hates nothing

more than "good advice", particularly when it has to do with his status as a father. So the ”bad

son“ and the ”bad father“ make their way through thick and thin. The trip back to Hamburg

gives them the chance to find themselves and to become good friends.

Genre Road Movie Category Feature Film Cinema Year

of Production 2001/2002 Director Anne Alix Screenplay

Anne Alix Director of Photography Pascale Granel

Editor Marie-Laure Desideri Music by Hinrich Dagefoer,

Frank Wulff-Raven, Stefan Wulff Production Design Dawn

Carman Staub Producers Dagmar Jacobsen, Frédéric Sichler,

Marc Ruscart, Helmut Dietl, Tuomas Sallinen, Marcel Hoehn

Production Company Integral Film, Berlin, in co-production

with Euripide Productions, Paris, Diana Film, Munich, Wide

Eye Productions, Helsinki, T & C Film, Zurich, in association

with ARTE, Strasbourg Principal Cast Manuel Blanc, Franco

Belviso, Kati Outinen, Marina Kobakhidze, Harry Baer, Heinz

Lieven Length 93 min, 2,544 m Format 16 mm Blow-up

35 mm, color, 1:1.66 Original Version French/English/

Finnish/German Subtitled Versions French, German

Sound Technology Dolby Stereo With backing from

FilmFoerderung Hamburg, Le Centre National de la


World Sales: please contact

Integral Film GmbH

Bleibtreustrasse 10/11 · 10623 Berlin/Germany

phone +49-30-88 55 15 86 · fax +49-30-88 55 28 46

www.integralfilm.de · email: info@integralfilm.de

Anne Alix was born in 1963 in Paris,

where she studied History and Film.

Also working freelance as a film editor,

her films include: the shorts Il y

a (1988), La Boutique (1996) and

Paradise (1999), as well as numerous

documentaries for television, including

L’Usine: mémoires croisées

(1993), Il cantastorie (1995),

Hôpital Silence? (1996), Mémoire

vive (1997), and Dream, Dream,

Dream (2001/2002), her feature debut.

46 Kino 2/2002

Franco Belviso, Kati Outinen, Manuel Blanc (photo © Integral Film)

Gold Cuts – eine poetische

Reise durch die Gegensaetze


Is art more than the genius, inspiration and total dedication of one individual? In an age of networked

information, can art and the world be enriched through symbiotic networks?

In reaction to the ever increasing individualization of society, a new artistic direction is manifested –

network art. Not the individual, but rather a well-honed collective forms the creative focal point.

Gold Cuts – A Poetic Trail Through Contradiction takes the viewer on an imaginary journey

through the spaces and crevices of spiritual city landscapes in contemporary Berlin.

Through the professional support of a local artist and an award-winning editor, sixteen international

managers have mastered the difficult task of bringing together unspoiled enthusiasm and technical

finesse. Gold Cuts – A Poetic Trail Through Contradiction describes the gold from which the

threads of everyday life are spun.

Scenes from ”Gold Cuts – A Poetic Trail Through Contradiction“

Genre Art Category (Semi-)Fictional Documentary

Year of Production 2002 Directors Team Gold Cuts

under the artistic direction of Ernst Handl Screenplay Ernst

Handl, Bernd Wildenmann Director of Photography Hans

Rombach Editor Petra Jurowski Music by Marcelo Royo

Producer Juergen Bock Production Company Otto

International Academy, Hamburg Length 55 min, 1,571 m

Format Digital Video Blow-up 35 mm, color, 1:1.66

Original Version German Subtitled Version French

Sound Technology Stereo German Distributor Otto

International Academy, Hamburg

World Sales:

Otto International Academy · Juergen Bock

Wandsbeker Strasse 3-7 · 22172 Hamburg/Germany

phone +49-40-64 61 70 52 · fax +49-40-64 61 80 58

www.gold-cuts.com · email: juergen.bock@otto.de

Kino 2/2002

Ernst Handl studied at the Academy

of Fine Arts in Vienna from 1970-1975.

After spending a year on the Greek island

of Crete, he moved to Berlin in 1980,

where he became a founding member of

various art galleries and cultural centers.

He has initiated many art symposia and

events, including the Snake Charming project

for the Expo 2000 in Hanover and

the Guggenheim Museum in New York in

2001. Gold Cuts – A Poetic Trail

Through Contradiction (2002)

marks his film debut.


Grosse Maedchen weinen nicht


What does it mean to be seventeen and to have a best friend? It means you spend almost every waking

moment with each other, talk all day and night about your favorite topics (love, boys, and sex) and you share

fears, desires, joys and pain.

Kati is seventeen. Her relationships never turn out as she hopes for – many affairs, but not really a true boyfriend,

and her parents are trying to get a grip on things on the home front, but just cannot seem to manage.

Steffi, Kati's best friend, seems to have the perfect life. She's pretty, has a sweet boyfriend and an open and

functional relationship to her parents – or so it seems.

But Kati and Steffi's friendship is put to the test. Kati witnesses her friend's life fall apart, as Steffi finds out by

chance that her father is having an affair. In their despair, the two girls try to find out more about this woman

and happen to then meet her daughter, Tessa. Steffi focuses all her hate on Tessa, and Kati has to decide how

far her loyalties will take her. The situation gets out of control, but big girls don't cry …

Genre Coming-of-Age Story, Drama Category Feature Film Cinema

Year of Production 2002 Director Maria von Heland Screenplay

Maria von Heland Director of Photography Roman Osin

Editor Jessica Congdon Music by Niclas Frisk, Andreas Mattsson

Production Design Ulrika Andersson Producers Andrea Willson,

Judy Tossell Production Company Deutsche Columbia Pictures

Filmproduktion, Berlin, in co-production with Egoli Tossell Film, Berlin

Principal Cast Anna Maria Muehe, Karoline Herfurth, Josefine Domes,

David Winter, Tillbert Strahl-Schaefer, Stefan Kurt, Nina Petri, Gabriela

Maria Schmiede, Matthias Brandt Casting Nessie Nesslauer Special

Effects Adolf Wojtinek/VFX: TVT Berlin, Manfred Buettner/Cinesite

London Length 87 min, 2,486 m Format 35 mm, color, 1:1.85

Original Version German Subtitled Version English Sound

Technology Dolby Digital, SDDS With backing from

Filmfoerderungsanstalt (FFA), Filmboard Berlin-Brandenburg

German Distributor Columbia Tristar Film GmbH, Berlin

World Sales:

Columbia Pictures Inc. · Sal Ladestro

10202 W. Washington Boulevard · Culver City, California 90232/USA

phone +1-3 10-2 44 20 73 · fax +1-3 10-2 44 18 01

www.spe.sony.com · email: Sal_Ladestro@spe.sony.com

Anna Maria Muehe, Karoline Herfurth (photo © Gabrielle Meros)

Maria von Heland was born in Stockholm in

1965. She studied Journalism in Sweden, Acting in

Paris and Directing at the California Institute of

the Arts, during which time she attended classes

as an exchange student at the ”Konrad Wolf“

Academy of Film & Television (HFF/B) in

Potsdam-Babelsberg. Her films include: the

award-winning shorts Die Staerkere (1994),

Chainsmoker (1997) and Real Men Eat

Meat (1998), her first feature film Recycled

(1999) and Big Girls Don’t Cry (2002).

48 Kino 2/2002

Herz im Kopf

Tom Schilling, Alicja Bachleda-Curus (photo © Claussen + Woebke Filmproduktion)

World Sales:

Beta Film GmbH · Dirk Schuerhoff

Robert-Buerkle-Strasse 2 · 85737 Ismaning/Germany

phone +49-89-99 56 21 34 · fax +49-89-99 56 27 03

www.betacinema.com · email: Dschuerhoff@betacinema.com


When his mother died, Jakob was unable to cope with his life. He quit school and moved to Berlin to

live with his father. But things didn’t work out, and now, a year later, he packs his bags and returns

home to the Frankfurt suburbs to live with his older sister Petra. Although planning on only passing

through, Jakob soon realizes he’ll have to help her out. Petra is pregnant, her boyfriend has just left her

and she can barely make ends meet for herself and her eight-year-old son. Just after his return home,

Jakob meets Wanda, a Polish au-pair girl living there. The more he sees her, the more he falls in love

with her. Wanda is attracted to him too, but she’s hesitant to give in to his attentions. She’s responsible

for the household of the Gebhard family and takes care of their two kids – but the Gebhards aren’t too

pleased to have Jakob hanging around. And Wanda’s friends don’t really like him either. If love is to

win, they must both follow their hearts …

Genre Drama, Comedy Category Feature Film Cinema

Year of Production 2001 Director Michael Gutmann

Screenplay Michael Gutmann, Hans-Christian Schmid

Directors of Photography Klaus Eichhammer, Pascal

Hoffmann Editor Monika Abspacher Music by Rainer

Michel Production Design Ingrid Henn, Marion Anna

Schlauss Producers Jakob Claussen, Thomas Woebke

Production Company Claussen + Woebke

Filmproduktion, Munich Principal Cast Tom Schilling,

Alicja Bachleda-Curus, Anna von Berg, Matthias

Schweighoefer, Sebastian Kroehnert Casting Anja Dihrberg

Length 89 min, 2,656 m Format 35 mm, color, 1:1.85

Original Version German Subtitled Version English

Sound Technology Dolby SR International Festival

Screenings Hof 2001 With backing from

Filmfoerderungsanstalt (FFA), FilmFernsehFonds Bayern,

Filmstiftung NRW German Distributor Constantin Film

Verleih GmbH, Munich

Kino 2/2002

Michael Gutmann was born in Frankfurt in 1956.

After studying Art and German at the University of

Frankfurt, he transferred to the Academy of Television

& Film (HFF/M) in Munich. He has worked as a screenwriter

and comic artist as well as a lecturer at the film

schools in Ludwigsburg, Munich and Cologne. He has

written and directed a number of episodes for TV

series such as Das Nest, Ein Fall fuer zwei and Tatort and

co-authored a number of films directed and co-written

by Hans-Christian Schmid, including It’s a Jungle

Out There (Nach fuenf im Urwald, 1995), 23 (1998),

and Crazy (2000). His films as director and screenwriter

include: Von Zeit zu Zeit (short, 1990),

How I Got Rhythm (short, 1993), Rohe

Ostern (1995), Nur fuer eine Nacht (TV,

1996), Black Ice (Glatteis, TV, 1998) and Heart

over Head (Herz im Kopf, 2001).




Nichts Bereuen


Daniel is 19-years-old and finally has his high school days behind him. After a wonderful summer

vacation, he is back in town and ready for life to start happening.

Things start out alright, but all his shots seem to backfire. His father organized a boring community

service job for him at the church, and his reunion with the love of his life, Luca, was a disaster.

Luca is fascinating, breathtaking, exciting, and … way out of his league! But virgin Daniel has chosen

her as his partner for his first sexual encounter. Although he made the decision four years ago,

Luca still knows nothing about it. She just sees Daniel as a good friend. But things can’t go on like

this, so Daniel decides to change his life dramatically. He changes jobs, an act he considers much

easier than changing the love of his life. Or maybe not. He then meets Anna, a social worker, and

for the first time he realizes that there are indeed alternatives to Luca. And all of the following

small and not-so-small catastrophes help him to realize that life is what happens between it all. And

that is why there is nothing to regret.

Genre Coming-of-Age Story Category Feature Film Cinema Year of

Production 2000 Director Benjamin Quabeck Screenplay Hendrik

Hoelzemann Director of Photography David Schultz Editor Tobias

Haas Music by Lee Buddah Production Design Miriam Moeller,

Markus Wollersheim Producers Stephanie Wagner, Michael Schaefer

Production Company Film Academy Baden-Wuerttemberg, Ludwigsburg,

in cooperation with WDR, Cologne, ARRI Film & TV, Munich

Principal Cast Daniel Bruehl, Jessica Schwarz, Denis Moschitto, Marie-

Lou Sellem, Josef Heynert, Sonja Rogusch Special Effects ARRI Digital,

Angela Reedwisch, Claudia Fuchs Length 103 min, 2,680 m Format

Super 16 mm Blow-up 35 mm, color, 1:1.85 Original Version

German Subtitled Version English, Italian Sound Technology

Dolby Digital International Festival Screenings Munich 2001,

Berlin 2002 (German Cinema) International Awards Hypo Bank

Young Director’s Award 2001, Best First Feature Society of German Film

Critics 2002 With backing from Filmbuero NW, MFG Baden-

Wuerttemberg, FilmFernsehFonds Bayern, Filmfoerderungsanstalt (FFA)

German Distributor ottfilm GmbH, Berlin

World Sales:

ottfilm GmbH · Claudia Poepsel

Kurfuerstendamm 175/176 · 10707 Berlin/Germany

phone +49-30-88 71 88 80 · fax +49-30-8 87 18 88 99

www.ottfilm.de · email: c.poepsel@ottfilm.de

Daniel Bruehl, Jessica Schwarz (photo © ottfilm)

Benjamin Quabeck studied

Directing at the Film Academy Baden-

Wuerttemberg from 1996-2000. He also

works freelance as a film editor. His films

include the prize-winning shorts: Wind

(1996), Weird Wire (1996), Die

Wenigsten wissen das (1997),

Hoehlenangst (1998), Ertraenkte

Angst (1998), Grafenzeit (1998),

4000 Teile (1999), and his graduation

film and feature film debut No Regrets




50 Kino 2/2002

Poem – ”Ich setzte den Fuss

in die Luft, und sie trug“

Poems have the power to uplift. They deal with a certain sense of magical enthusiasm

and truth. Poem is a film that lets the viewer experience this power.

A collection of twenty-one poems from German-speaking authors are performed

and recited, taking us on a trip through life: its precious experiences and possibilities,

expressions of love and friendship, the suffering of change, and the fear of aging,

disease, loneliness and death.

Scene from ”Poem“ (Ich kann Dir die Welt nicht zu Fuessen legen by Heiner Mueller)

Genre Literature Category Feature Film Cinema

Year of Production 2002 Director Ralf Schmerberg

Screenplay Antonia Keinz, Ralf Schmerberg Directors of

Photography Neelesha Barthel, Ana Davila, Daniel

Gottschalk, Ali Goezkaya, Darius Khondji, Franz Lustig, Jo

Molitoris, Joerg Schmidt Reitwein, Ralf Schmerberg, Robby

Mueller, Nicola Pecorini Editor Rick Waller Production

Design Peter Weber Art Department Producers Ralf

Schmerberg, Eva Maier-Schoenung Production Company

Trigger Happy Productions, Berlin, in co-production with radical.media,

New York Principal Cast Meret Becker, David

Bennent, Carmen Birk, Anna Boettcher, Klaus Maria Brandauer,

John & Larry Gassmann, Christoph Asmus Gerber, Chiring

Gurong, Marcia Haydée, Sham Lama Tulkur, Luise Rainer, Rosa

Coco Schinagl, Herman van Veen, Juergen Vogel Casting Ana

Davila Casting Length 95 min, 2,608 m Format 35 mm,

Digital Video, 16 mm, Super 16 mm Blow-up 35 mm, color,

1:1.85 Original Version German Subtitled Versions

English, French Sound Technology Dolby Digital

World Sales:

Trigger Happy Productions GmbH · Eva Maier-Schoenung

Swinemuender Strasse 121 · 10435 Berlin/Germany

phone +49-30-2 84 89 70 · fax +49-30-28 48 97 55

www.triggerhappyproductions.com · email: maier-schoenung@triggerhappyproductions.com

Kino 2/2002

Ralf Schmerberg was born 1965 in Stuttgart and

studied Photography. He has received numerous

awards for his photographic work since 1989, including

distinctions from the ADC Germany as well as a

Kodak Newcomer’s Prize, and he has exhibited in

Frankfurt, Munich, Stuttgart and Hamburg. He made

his feature directorial debut in 1995 with the poetic

documentary Hommage à Noir which was presented

with a Certificate of Merit at the 1996 Chicago

International Film Festival and two Gold Medals at the

New York Film Festival in 1997 and was nominated

for the UNESCO Award. His other works include:

video clips for groups such as Die Fantastischen Vier,

Die Toten Hosen, and Chaka Khan, various advertisements

for companies like Nike, Afri Cola and

Mastercard, among others, and the feature film

Poem (2002).



Ein Produzent hat Seele

oder er hat keine

In January 2002, the director Volker Schloendorff and the producer Horst Wendlandt had an interesting conversation,

which was filmed by the cameraman Andreas Hoefer. Horst Wendlandt, who has received over 38

Golden Screen Awards for his films, talks about his film work since the 1960s. The dialogue between the ”old

and young filmmakers“ provides a fascinating spectrum of German cinema of the recent past. Their conversation

is complemented with numerous excerpts from some of Wendlandt’s most well-known films.

Volker Schloendorff’s proclamation of the necessary development of ”conservative film“ to Autorenfilm is

countered by Horst Wendlandt, impressive examples of his success, as well as clips from films by Loriot,

Rainer Werner Fassbinder, Ingmar Bergmann, Otto, Edgar Wallace and Karl May.

Genre Biopic Category Documentary

Cinema Year of Production 2002

Director Volker Schloendorff Director of

Photography Andreas Hoefer Editors Peter

Przygodda, Oliver Weiss Producers Susan

Nielebock, Henry Nielebock Production

Company Kruemel Film, Berlin Principal

Cast Horst Wendlandt, Volker Schloendorff

Length 75 min Format DigiBeta, color

Original Version German Subtitled

Version French

World Sales: please contact

Kruemel Film GmbH · Henry Nielebock

Fasanenstrasse 13 · 10623 Berlin/Germany

phone +49-30-3 13 08 43 · fax +49-30-3 12 90 11

www.kruemelfilm.com · email: info@kruemelfilm.com

Volker Schloendorff was born in Wiesbaden in 1939. He

made his debut as a film director in 1965 with You Are a Man,

My Boy (Der junge Toerless) which won the German Film

Award in 1966 and the Max-Ophuels Award. In 1979, his adaptation

of Guenter Grass’ The Tin Drum (Die Blechtrommel)

was the first film by a German director to be awarded a Golden

Palm in Cannes. A year later, it was the first German film to be

awarded an OSCAR. His other films include: the filming of

Heinrich Boell’s The Lost Honor of Katharina Blum

(Die verlorene Ehre der Katharina Blum, 1975),

Germany in Autumn (Deutschland im Herbst, 1976,

together with Stefan Aust, Alexander Kluge, et al), Circle of

Deceit (1980/1981), Swann in Love (Un amour de

Swann, 1984), Death of a Salesman (TV, 1985), A

Gathering of Old Men (TV, 1987), The Handmaid’s

Tale (1990), Voyager (Homo Faber, 1991), The Ogre

(Der Unhold, 1996), The Legends of Rita (Die Stille

nach dem Schuss, 1999), Ein Produzent hat Seele

oder er hat keine (2002), and many, many more.

52 Kino 2/2002

Volker Schloendorff, Horst Wendlandt (photo © Wolfgang Jahnke)

Russian Ark

An extraordinary journey through time and Russian history. The Marquis de Custine, an 18th century French

diplomat with a love/hate relationship to Russia finds himself on a time trip through St. Petersburg’s fabled Winter

Palace – from the times of Peter the Great to the present day. With him, an invisible Russian filmmaker, who is

confused about Russia’s position in Europe.

Together they encounter life at the Imperial Palace as it was in different ages. From little backstage love affairs in

Catherine the Great’s personal theater to the last Grand Royal Ball of 1913. From Peter’s humiliation of his coarse

18th century countrymen to the Nazi’s bloody siege of Leningrad during World War II. It’s as if the Hermitage is a

vessel, retaining the Russian soul until a better day, when that country once again knows where it belongs.

Russian Ark is a truly unique film – the ”absolute auteur movie“. Alexander Sokurov tells his story in one uninterrupted

steadicam sequence, which was only recorded once. There is no editing, the film unfolds in pure real time.

The filmmaker’s vision – featuring more than 2,000 actors and extras – was realized entirely ”in the camera“.

Russian Ark was recorded straight to hard disk in the High Definition format, for digital and for 35 mm projection,

featuring a live performance by the Mariinsky Theater Orchestra under Valery Gergiev.

Scene from ”Russian Ark“ (photo © Egoli Tossell Film / Hermitage Bridge Studio)

Genre Art, History Category Feature Film Cinema Year of

Production 2002 Director Alexander Sokurov Screenplay

Alexander Sokurov, Anatoli Nikiforov Director of Photography

Tilman Buettner Imaging Sergey Ivanov Music by Sergey Yetushenko

Production Design Alexander Sokurov Producers Andrey

Deryabin, Jens Meurer, Karsten Stoeter Production Companies

Hermitage Bridge Studio, St. Petersburg, Egoli Tossell Film, Berlin, in coproduction

with Kopp Film, Berlin, Fora Film, Moscow Principal Cast

Sergey Dreiden, Maria Kuznetsova, Leonid Mozgovoi, Prof. Michail

Piotrovsky Length 96 min 2,627 m Format 35 mm, color, 1:1.85

Original Version Russian Subtitled Versions English, French

Sound Technology Dolby SR International Festival

Screenings Cannes 2002 (in competition) With backing from

Mitteldeutsche Medienfoerderung, Filmboard Berlin-Brandenburg, BKM,

Filmbuero NW, FilmFoerderung Hamburg, Filmfoerderung Sachsen-Anhalt,

Kultusministerium der Russischen Foederation German Distributor

Delphi Filmverleih GmbH, Berlin

World Sales:

Celluloid Dreams · Hengameh Panahi

2, rue Turgot · 75009 Paris/France

phone +33-1-49 70 03 70 · fax +33-1-49 70 03 71

www.celluloid-dreams.com · email: info@celluloid-dreams.com

Kino 2/2002

Alexander Sokurov was born in Russia in 1951. He

studied History and trained until 1979 as a director at the

Moscow Film School VGIK. His graduation film The

Lonely Voice of Man (1987) was neither officially

accepted by the school, nor given the right to be shown –

as was the case with all of his films until the democratic

reforms in the mid to late 80s –-, but did win a Bronze

Leopard at Locarno. In 2000, he founded the studio Bereg

for non-commercial feature and documentary films.

Sokurov has made numerous prize-winning feature films

and documentaries, including: Painful Indifference

(1987), Days of Eclipse (1988), Elegy of Russia

(documentary, 1992), Mother And Son (1996),

Moloch (1999), Taurus (2001) and Russian Ark

(2002), among others.






Genre Drama, Family Category Feature Film

Cinema Year of Production 2002 Director

Peter Patzak Screenplay Stefan Kolditz Director

of Photography Andreas Koefer Editor Michou

Hutter Music by Martin Todsharow Production

Design Ric Schachtebeck Producer Alexander

Gehrke Production Company ANTAEUS

Babelsberg, Potsdam, in co-production with

Scala-Film, Halle, in association with MDR, Leipzig

Principal Cast Barnaby Metschurat, Heikko

Deutschmann, Karin Giegerich, Vadim Glowna,

Juergen Hentsch Casting Simone Baer Special

Effects Exozet, Motionworks Length 97 min,

2,650 m Format 35 mm, color, 1:1.85 Original

Version German Subtitled Version English

Sound Technology Dolby Digital With

backing from Filmboard Berlin-Brandenburg,

Mitteldeutsche Medienfoerderung

World Sales: please contact

ANTAEUS Medienvertrieb GmbH · Alexander Gehrke

Steinstrasse 62 · 14482 Potsdam-Babelsberg/Germany

phone +49-3 31-74 00 00 50 · fax +49-3 31-74 00 00 53

email: antaeus-film@t-online.de

Barnaby Metschurat (photo © ANTAEUS Babelsberg GmbH)

Alexander Becker, caring father of two children,

loving husband and ambitious lawyer, is offered

the deal of a lifetime: if he wins a high-caliber

lawsuit for his firm, he will be on his way to a

top career in Canada.

But then he receives a phone call from the clinic

where he put his mentally handicapped brother

Fabian after the early death of their mother many

years ago. Apparently important renovations at

the clinic make it necessary to find temporary

accommodations for Fabian for four weeks.

Although completely against the idea of his

brother coming to live with him, Alexander

finally gives in.

Unwillingly, Fabian becomes a catalyst for all the

unsettled conflicts in his new environment. With

Fabian, the suppressed memories of Alexander’s

childhood, the reminder of their mutual roots and

their painful separation come to fore. Things start to

happen very fast, and slowly but surely Alexander

begins to understand where he really belongs.

Peter Patzak was born in Vienna in 1945 and

studied Psychology and Art History. A painter and

conceptual artist, he lived in New York from

1968-1970, where he also worked for a TV station,

making numerous 16 mm and video films before

returning to Vienna. He is best known as the writer

and director of the cult television series Kottan

ermittelt (1976-1983). A selection of his other

films includes: Kassbach (1978), The

Uppercrust (Den Tuechtigen gehoert

die Welt, 1981), Wahnfried – Richard und

Cosima (1988), Killing Blue (1988), Der

Joker (1988), Shanghai Hotel (1995),

Promised Land (2000) and Zodiac Sign

(2002), among others.

54 Kino 2/2002

Suche impotenten Mann


Carmen, a successful girl in her late twenties, has had enough. Her boyfriend is cheating on her, and at work her

clients seem to believe that sex should be offered as one of the company services.

She and her best friend Laura, who has just discovered that she is pregnant, decide that where there is sex, there

are lies; the two seem inseparable. After many tears and even more bottles of wine, Carmen comes up with

what she believes is the perfect solution to her problems with men. She puts an ad on the Internet asking to

meet a sensitive, intelligent man with a good sense of humor … but he must be impotent.

What follows is a hilarious, touching story of love and misunderstanding, laughter and tears, Viagra and three pairs

of underpants, and an enjoyable roller coaster of a relationship in this joyous romantic comedy for our times.

Tim Williams, Katrin Weisser (photo © ZIEGLER FILM GmbH / Co. KG)

Genre Romantic Comedy Category Feature Film Cinema

Year of Production 2000/2001 Director John Henderson

Screenplay John Henderson, Sharon v. Wietersheim, based

on the novel by Gaby Hauptmann Director of Photography

Jo Heim Editor Mathias Meyer Music by Richard

Harvey, Daryl Griffith, Paul Reeves Production Design

Matthias Kammermeier Executive Producer Wolfgang

Hantke Produced by Regina Ziegler Production

Company Ziegler Film, Berlin, in co-production with Degeto

Film, Frankfurt Principal Cast Katrin Weisser, Tim Williams,

Sandra Leonhard, Gabriel Walsh Casting Casting Chiarello

(GER), Susan Shopmaker (USA) Length 92 min, 2,530 m

Format 35 mm, color, 1:1.85 Original Version English

Dubbed Version German Sound Technology Dolby

SRD With backing from Filmstiftung NRW, Filmfoerderungsanstalt

(FFA) German Distributor Senator Film

Verleih GmbH, Berlin

John Henderson is active as both a

writer and director for television and the

cinema. A selection of his films includes:

The Borrowers (TV, 1992), The

Last Englishman (TV, 1994), Loch

Ness (1995), Bring Me the Head

of Mavis Davis (1996/1997),

Hospital (TV, 1997), Jack and the

Beanstalk (TV, 1998), Alice

Through the Looking Glass (TV,

1998), Leprechauns (1999), Sigurd

(2000), Los dos bros (TV, 2000), Ogo

Pogo (2000/2001), In Search of an

Impotent Man (2000/2001) and

many more.

World Sales:

Peppermint GmbH · Michael Knobloch

Rauchstrasse 9-11 · 81679 Munich/Germany

phone +49-89-9 82 47 08 30 · fax +49-89-9 82 47 08 11

www.seepeppermint.com · www.ziegler-film.com · email: mail@seepeppermint.com

Kino 2/2002




Ten Minutes Older

Ten Minutes Older is a film unique in the history of cinema about the most universal of all

subjects: time.

Each of the distinguished directors has been given exactly ten minutes on the screen for their

vision. With complete creative freedom, the directors bring their own unique interpretation of

’time’ to the screen. Using the technology of film in innovative, provocative ways, Ten Minutes

Older takes in all human experience: birth, death, love, sex, the drama of the moment, history

and ancient myth; and a great variety of locations from the deserts of India to the streets of New

York. Combined together in a feature film, their individual work gains new meaning and presents

an intriguing and exciting experience for all cinemagoers.

Genre Art, Experimental Category Feature Film

Cinema Year of Production 2002 Directors

Aki Kaurismaeki, Víctor Erice, Werner Herzog, Jim

Jarmusch, Wim Wenders, Spike Lee, Chen Kaige, et al

Music composed by Paul Englishby, performed by

Hugh Masekela Producers Ulrich Felsberg, Nicolas

McClintock, Nigel Thomas Production Company

Road Movies, Berlin, in co-production with Matador

Pictures, London, Odyssey Films, London Length

132 min, 3,612 m Format 35 mm, color and b&w,

1:1.85 Original Version Chinese/English/Finnish/

Spanish Subtitled Versions English, French

Sound Technology Dolby SRD International

Festival Screenings Cannes 2002 (Un Certain


World Sales:

Road Sales USA · Jon Kramer, Annouchka Lesoeur

3599 Cahuenga Boulevard, West 3rd Floor

90068 Los Angeles, California/USA

phone +1-3 23-8 78 04 04 · fax +1-3 23-8 78 04 86

email: sales@promarkgroup.com

Since the early 80s, Ulrich Felsberg has produced and co-produced

more than 50 films. His feature credits include eight films directed by

Wim Wenders, including The Million Dollar Hotel (Silver Bear,

Berlin 2000) and Buena Vista Social Club, for which he received

the European Film Award in 1999. In 2000, Felsberg was nominated for

an OSCAR for Buena Vista Social Club. He has also produced

Michaelangelo Antonioni’s and Wim Wenders’ Beyond the

Clouds (1995), as well as six Ken Loach films, including Land of

Freedom, winner of the European Film Award in 1995. He has worked

with such directors as Tomás Gutiérrez Alea, Stephen Frears,

Gerardo Herrero, Robert Lepage, Paul McGuigan, Pat Murphy, Manuel

Gómez Pereira, Carlos Saura, Julien Temple, and Juanma Bajo Ulloa.

Felsberg’s most recent projects include Ken Loach’s Sweet Sixteen,

and Gurinder Chadha’s Bend It Like Beckham. Ulrich Felsberg

is a member of the board of The European Film Academy and a

member of the board of the Ateliers du Cinema Européen (ACE) as

well as a member of the British Academy of Film and Television Arts

(BAFTA). He is also a board member of the German producers’

association Film 20.

56 Kino 2/2002

”Ten Thousand Years Older“ – Werner Herzog’s episode of ”Ten Minutes Older“ (photo © Lena Herzog)



Verrueckt nach Paris CRAZY ABOUT PARIS

Hilde, Philip and Karl all live in a home for disabled people in Bremen. Hilde helps out in the kitchen, while

Philip and Karl make children’s toys in a supervised workshop. Enno, their supervisor, goes about his job,

keeping an ironic distance between himself and the proceedings. One day, Hilde, Philip and Karl decide to

peel off on their own. Equipped with some luggage, Hilde’s savings and a bundle of toy ducks, they get on

a train bound for Cologne. Their very own little excursion!

Upon arrival in Cologne, they start selling their wooden ducks in front of the cathedral, which gets them in

trouble with a gang of youths. A charitable organization at the railway station takes the trio in and informs

the home of their whereabouts. But the runaways manage to slip away unnoticed yet again. They miss their

train back to Bremen – making them all the more determined to embark on a proper journey. By now,

Enno is on his way to Cologne to retrieve the truants. Meanwhile, Hilde has booked tickets for them all on

the night train to Paris. Enno misses the runaways by a hair’s breadth; he leaps into a taxi and drives off

after the train, but doesn’t manage to catch up with them until the train stops at Liège. He finally discovers

the trio on the train – but it won’t stop again until it reaches Paris …

Frank Grabski, Paula Kleine, Wolfgang Goettsch (photo © Diana Richter)

Genre Comedy, Drama Category Feature Film Cinema Year

of Production 2002 Directors Eike Besuden, Pago Balke

Screenplay Eike Besuden, Pago Balke Director of Photography

Piotr Lenar Editor Margot Neubert-Maric Music by

Karsten Gundermann Production Design Heike Lauer

Producer Eike Besuden Production Company Geisberg

Studios, Bremen, in cooperation with NDR, Hamburg, Radio

Bremen, ARTE, Strasbourg Principal Cast Paula Kleine,

Wolfgang Goettsch, Frank Grabski, Dominique Horwitz, Corinna

Harfouch, Martin Luettge Casting Tina Boeckenhauer Length

90 min, 2,462 m Format 16 mm Blow-up 35 mm, color,

1:1.66 Original Version German Subtitled Version English

Sound Technology Dolby Digital International Festival

Screenings Berlin 2002 (Perspective German Cinema) With

backing from Filmfoerderung Niedersachsen, FilmFoerderung

Hamburg, Filmfoerderung Bremen, Kuratorium junger deutscher

Film German Distributor Neue Visionen Filmverleih

Soergel/Frehse GbR, Berlin

Pago Balke was born in 1954. After studying Art and

Germanic Studies, he founded an alternative school for the educationally

handicapped. In 1987, he began a career as a cabaret

artist and singer. From 1987-1998, he worked as an actor and

director at the Blaumeier Atelier in Bremen and has been acting

at the Bremen Theater since 1998. Crazy About Paris

marks his feature film debut.

Eike Besuden was born in 1948. After taking a teaching

degree to become a grammar school teacher, he taught for

seven years. During that time, he also began working freelance

for Radio Bremen and has been directing documentaries since

1989. A selection of his television films includes: Dann

bin ich eben weg, na und? (1989), Endje van’d Welt

(1992), Zurueck nach Rom (1994), Irre menschlich

(1995), Wenn der Teufel in die Kirche kommt …

(1996), Der vergessene Krieg (1997), Gruene Lady,

du laechelst mich an! (1999) and Warten auf ein

neues Leben (2000), among others. Crazy About Paris

is his feature film debut.

World Sales: please contact

Geisberg Studios Eike Besuden Filmproduktion GmbH · Eike Besuden

Friesenstrasse 87 · 28203 Bremen/Germany

phone +49-4 21-79 01 00 · fax +49-4 21-7 90 10 20

www.verruecktnachparis.de · www.geisbergstudios.de · email: info@geisbergstudios.de

Kino 2/2002



The friends Mike and Alfred are unemployed. They spend their empty days drinking beer at a roadside

snack bar. Half-hearted attempts to find work have not got them anywhere. One day, they take

up the proposal of a regular drinking partner, Rasto, to take over a derelict motorway kiosk, but it

soon becomes apparent that Rasto doesn’t have his business in order. Shady business relations use

criminal techniques to pressure him to pay his debts. In spite of the long odds, Mike and Alfred

manage to turn the kiosk into a goldmine, but that can’t save Rasto. When Alfred falls in love with a

supermarket check-out girl and neglects his work, while Mike turns into a workaholic, disaster cannot

be avoided. The turbulence of working life puts the friendship of the former jobless Mike and Alfred

to the test. It isn’t that easy to get what everyone already seems to have: work, money, recognition

and the right woman at your side.

Genre Comedy, Tragicomedy Category Feature Film

Cinema Year of Production 2001 Directors Markus

Mischkowski, Kai Maria Steinkuehler Screenplay Markus

Mischkowski Director of Photography Klaus Peter

Schmidt Editor Christine Dériaz Music by The

Haifaboys Production Design Anja Kuehnle, Ildiko

Mohos Producer Kai Kuennemann Production

Company Kai Kuennemann Filmproduktion, Cologne

Principal Cast Jens Claassen, Katharina Schmaltz, Markus

Mischkowski, Kai Maria Steinkuehler, Ralf Richter, Katy

Karrenbauer Length 89 min, 2,440 m Format Super

16 mm Blow-up 35 mm, b&w, 1:1.66 Original

Version German Subtitled Version English

Sound Technology Dolby SR International

Festival Screenings Hof 2001, Ophuels-Festival

Saarbruecken 2002, Rotterdam 2002 With backing

from Filmbuero NW, Kuratorium junger deutscher Film

World Sales: please contact

Kai Kuennemann Filmproduktion · Kai Kuennemann

Maybachstrasse 111 · 50670 Cologne/Germany

phone +49-2 21-9 12 90 25 · fax +49-2 21-9 12 90 35

www.westend-derfilm.de · email: kai.kuennemann@t-online.de

Markus Mischkowski, Kai Maria Steinkuehler (photo © Anna C. Wagner)

Markus Mischkowski was born in 1966 in

Cologne and studied Linguistics in Berlin. Since 1990,

he has been scripting, producing and directing films

together with Kai Maria Steinkuehler, who

was born in 1967 in Cologne and studied Egyptian

and African Studies from 1986-1989. Their films

include: the shorts Einsam und allein (1990),

Suizid (1991), Struktur B muss sterben

(1993), Von der Aesthetik des Abschleppens

(1993), Die Ordnung der Dinge

(1994), Uncle Ben’s Film (1995), Was tun

(1998), Wolga (2001) and the feature film

Westend (2001).

58 Kino 2/2002


more than 100 news items

more than 200 festival portraits

more than 500 German films

more than 1000 other useful things

to know about German Cinema

Export-Union des Deutschen Films GmbH · Sonnenstrasse 21 · 80331 Munich/Germany

phone +49-89-5 99 78 70 · fax +49-89-59 97 87 30 · email: export-union@german-cinema.de

Export-Union of German Cinema

Shareholders and Supporters

Verband Deutscher Spielfilmproduzenten e.V./

Association of German Feature Film Producers

please contact Franz Seitz

Beichstrasse 8, 80802 Munich/Germany

phone +49-89-39 11 23, fax +49-89-33 74 32

Arbeitsgemeinschaft Neuer Deutscher Spielfilmproduzenten/

Association of New Feature Film Producers

please contact Margarete Evers

Agnesstrasse 14, 80798 Munich/Germany

phone +49-89-2 71 74 30, fax +49-89-2 71 97 28

email: ag-spielfilm@t-online.de

Verband Deutscher Filmexporteure e.V./

Association of German Film Exporters

please contact Lothar Wedel

Tegernseer Landstrasse 75, 81539 Munich/Germany

phone +49- 89-6 42 49 70, fax +49-89-6 92 09 10

www.vdfe.de, email: mail@vdfe.de


Große Praesidentenstrasse 9, 10178 Berlin/Germany

phone +49-30-27 57 70, fax +49-30-27 57 71 11

www.ffa.de, email: presse@ffa.de

Beauftragter der Bundesregierung für

Angelegenheiten der Kultur und der Medien

Referat K 36, Graurheindorfer Strasse 198, 53117 Bonn/Germany

phone +49-18 88-6 81 36 43, fax +49-18 88-6 81 38 53

email: Hermann.Scharnhoop@bkm.bmi.bund.de

Filmboard Berlin-Brandenburg GmbH

August-Bebel-Strasse 26-53, 14482 Potsdam-Babelsberg/Germany

phone +49-3 31-7 43 87-0, fax +49-3 31-7 43 87-99


email: filmboard@filmboard.de

FilmFernsehFonds Bayern GmbH

Sonnenstrasse 21, 80331 Munich/Germany

phone +49-89-5 44 60 20, fax +49-89-54 46 02 21


email: filmfoerderung@fff-bayern.de

FilmFoerderung Hamburg GmbH

Friedensallee 14–16, 22765 Hamburg/Germany

phone +49-40-3 98 37-0, fax +49-40-3 98 37-10


email: filmfoerderung@ffhh.de

Filmstiftung NRW GmbH

Kaistrasse 14, 40221 Duesseldorf/Germany

phone +49-2 11-93 05 00, fax +49-2 11-93 05 05


email: info@filmstiftung.de

Medien- und Filmgesellschaft

Baden-Wuerttemberg mbH


Breitscheidstrasse 4, 70174 Stuttgart/Germany

phone +49-7 11-90 71 54 00, fax +49-7 11-90 71 54 50


email: filmfoerderung@mfg.de

Mitteldeutsche Medienfoerderung GmbH

Hainstrasse 17-19, 04109 Leipzig/Germany

phone +49-3 41-26 98 70, fax +49-3 41-2 69 87 65


email: info@mdm-foerderung.de

60 Kino 2/2002

Credits non contractual

Foto: Roman Polanski shooting “The Pianist”, a Studio Babelsberg Co-Production

"Sixteen sound stages, lab on-site, state-of-the-art sound post. 250,000 costumes,

1 million props. Experienced film craftsmen – carpenters, set painters, metal workers, tailors ...

90 years of filmmaking in one of the most exciting neighbourhoods of today.

Welcome to Berlin, welcome to STUDIO BABELSBERG.

We appreciate your business." Gabriela Bacher


Scenic design, planning, calculation, construction – we take a

project from rough sketch through construction.


The costume department contains an assortment of over 250,000

costumes, uniforms and accessories from every conceivable era.


The make up department has one of the most extensive collections

of wigs and hairpieces in Europe.


Studio F for feature films, from the most modern digital mixing

studio in Europe, to edit suites, digital audio suites, soundlibrary

and screening theatres.


Daily processing of colour or b/w negative in 16, 35 and Super

35mm. Dailies in film or video.

CEO Studio Babelsberg Motion Pictures


Two large warehouses of 80,700 sq ft provide a collection of over

a million items. Special effects/weapons. We cooperate with the

internationally acclaimed special effects specialist Nefzer under

the roof of the Nefzer Babelsberg.


From the legendary 43.000 sq ft “Marlene Dietrich Stage” to fully

equipped 4,500 sq ft television studios with adjoining production

offices, wardrobe, make-up and dressing rooms.


The working facades of more than 26 buildings spread over a total

area of 75,300 sq ft create an European city atmosphere typical

“Berlin Street”, that was used in productions like “The Pianist”

and “Joe and Max”.


Our team supports the realisation of your project from

pre-production to delivery.

August-Bebel-Straße 26–53 D-14482 Potsdam Tel: + 49(0)331-721-30 01 Fax: + 49(0)331-721 -25 25 info@sbmp.biz

A Vivendi Universal company.

Film Exporters

Members of the Association of German Film Exporters

please contact Lothar Wedel · Tegernseer Landstrasse 75 · 81539 Munich/Germany

phone +49-89-6 42 49 70 · fax +49-89-6 92 09 10 · www.vdfe.de · email: mail@vdfe.de

ARRI Media Worldsales

please contact Antonio Exacoustos jun.

Tuerkenstrasse 89

80799 Munich/Germany

phone +49-89-38 09 12 88

fax +49-89-38 09 16 19


email: aexacoustos@arri.de

Atlas International

Film GmbH

please contact

Dieter Menz, Stefan Menz, Christl Blum

Rumfordstrasse 29-31

80469 Munich/Germany

phone +49-89-21 09 75-0

fax +49-89-22 43 32


email: mail@atlasfilm.com

Bavaria Film International

Dept. of Bavaria Media GmbH

please contact Thorsten Schaumann

Bavariafilmplatz 8

82031 Geiselgasteig/Germany

phone +49-89-64 99 26 86

fax +49-89-64 99 37 20


email: bavaria.international@bavaria-film.de

Beta Film GmbH

please contact Dirk Schuerhoff

Robert-Buerkle-Strasse 2

85737 Ismaning/Germany

phone +49-89-99 56 - 21 34

fax +49-89-99 56 - 27 03


email: DSchuerhoff@betacinema.com

cine aktuell

Filmgesellschaft mbH

please contact Ralf Faust, Axel Schaarschmidt

Werdenfelsstrasse 81

81377 Munich/Germany

phone +49-89-7 41 34 30

fax +49-89-74 13 43 16


email: mail@cine-aktuell.de

Cine-International Filmvertrieb

GmbH & Co. KG

please contact Lilli Tyc-Holm, Susanne Groh

Leopoldstrasse 18

80802 Munich/Germany

phone +49-89-39 10 25

fax +49-89-33 10 89


email: email@cine-international.de


CINEPOOL – Dept. of Telepool

Europaeisches Fernsehprogrammkontor


please contact Dr. Cathy Rohnke,

Wolfram Skowronnek

Sonnenstrasse 21

80331 Munich/Germany

phone +49-89-55 87 60

fax +49-89-55 87 62 29


email: rohnke@telepool.de,



Dieter Wahl Film

please contact Dieter Wahl

Postfach 71 10 26

81460 Munich/Germany

phone +49-89-53 27 21

fax +49-89-53 12 97

email: wahlfilm1@aol.com

Exportfilm Bischoff & Co. GmbH

please contact Jochem Strate,

Philip Evenkamp

Isabellastrasse 20

80798 Munich/Germany

phone +49-89-2 72 93 60

fax +49-89-27 29 36 36

email: philipevenkamp@csi.com

german united distributors

Programmvertrieb GmbH

please contact Silke Spahr

Richartzstrasse 6-8a

50667 Cologne/Germany

phone +49-2 21-92 06 90

fax +49-2 21-9 20 69 69

email: silke.spahr@germanunited.com

Kinowelt Medien AG

Kinowelt World Sales

A Division of Kinowelt

Lizenzverwertungs GmbH

please contact Jochen Hesse,

Stelios Ziannis

Infanteriestrasse 19/Bldg. 6

80797 Munich/Germany

phone +49-89-30 79 66

fax +49-89-3 07 96 70 67


email: worldsales@kinowelt.de

Media Luna Entertainment

GmbH & Co.KG

please contact Ida Martins

Hochstadenstrasse 1-3

50674 Cologne/Germany

phone +49-2 21-1 39 22 22

fax +49-2 21-1 39 22 24


email: info@medialuna-entertainment.de

Progress Film-Verleih GmbH

please contact Christel Jansen

Burgstrasse 27

10178 Berlin/Germany

phone +49-30-24 00 32 25

fax +49-30-24 00 32 22


email: c.jansen@progress-film.de

Road Sales GmbH


please contact Frank Graf

Clausewitzstrasse 4

10629 Berlin/Germany

phone +49-30-8 80 48 60

fax +49-30-88 04 86 11


email: office@road-movies.de

RRS Entertainment Gesellschaft

fuer Filmlizenzen GmbH

please contact Robert Rajber

Sternwartstrasse 2

81679 Munich/Germany

phone +49-89-2 11 16 60

fax +49-89-21 11 66 11

email: info@rrsentertainment.de

Transit Film GmbH

please contact Loy W. Arnold, Mark Gruenthal

Dachauer Strasse 35

80335 Munich/Germany

phone +49-89-59 98 85-0

fax +49-89-59 98 85-20

email: transitfilm@compuserve.com

Uni Media International

Filmvertriebsgesellschaft mbH

please contact Irene Vogt

Bayerstrasse 15

80335 Munich/Germany

phone +49-89-59 58 46

fax +49-89-5 50 17 01

email: UniMediaInt@t-online.de

Waldleitner Media GmbH

please contact Michael Waldleitner,

Angela Waldleitner

Muenchhausenstrasse 29

81247 Munich/Germany

phone +49-89-55 53 41

fax +49-89-59 45 10

email: media@waldleitner.com

Kino 2/2002

Beichstrasse 8, D - 80802 Muenchen, Germany

Phone: (89) 391 425 Fax: (89) 340 1291

The Export-Union of German Cinema – A Profile

The Export-Union of German Cinema is the national information

and advisory center for the export of German films. It was established

in 1954 as the ”umbrella“ association for the Association of

German Feature Film Producers, the Association of New German

Feature Film Producers and the Association of German Film

Exporters, and operates today in the legal form of a limited company.

Shareholders in the limited company are the Association of

German Feature Film Producers, the Association of New German

Feature Film Producers, the Association of German Film Exporters

and the German Federal Film Board (FFA).

The members of the board of the Export-Union of

German Cinema are: Jochem Strate (chairman), Rolf Baehr,

Antonio Exacoustos Jr. and Michael Weber.

The Export-Union itself has nine permanent staff:

• Christian Dorsch, managing director

• Susanne Reinker, PR manager

• Stephanie Weiss, project manager

• Angela Hawkins, publications editor

• Andrea Rings, assistant to the managing director

• Cornelia Klimkeit, PR assistant

• Nicole Kaufmann, project coordinator

• Petra Bader, office manager

• Ernst Schrottenloher, accounts

In addition, the Export-Union shares foreign representatives

in nine countries with the German Federal Film Board (FFA).

(cf. page 66)

The Export-Union’s budget of presently approx. Euro 3.1

million (including projects, administration, foreign representatives)

comes from the export levies, monies from the office of the Federal

Government Commissioner for Cultural Affairs and the Media and

the FFA. In addition, the six main economic film funds

(Filmboard Berlin-Brandenburg, FilmFernsehFonds Bayern, FilmFoerderung

Hamburg, Filmstiftung NRW, Medien- and Filmgesellschaft

Baden-Wuerttemberg and Mitteldeutsche Medienfoerderung) have

made a financial contribution, currently amounting to Euro 0.25

million, towards the work of the Export-Union. In 1997, the Export-

Union and five large economic film funds founded an advisory

committee whose goal is the ”concentration of efforts for the

promotion of German film abroad“ (constitution).

The Export-Union is a founding member of the ”European Film

Promotion“, an amalgamation of twenty national film-PR

agencies (UNIFRANCE, Swiss Films, Italia Cinema, Holland Film,

among others) with similar responsibilities to those of the Export-

Union. The organization, with its headquarters in Hamburg, aims to

develop and realize joint projects for the presentation of European

films on an international level.


Close cooperation with the major international film

festivals, e.g. Berlin, Cannes, Venice, Montreal, Toronto,

San Sebastian, Tokyo, New York, Locarno, Karlovy Vary;

Organization of umbrella stands for German sales companies

and producers at international TV and film markets, e.g.


Staging of festivals of German Cinema in key cities of the

international film industry (2002: London, Los Angeles,

Madrid, Melbourne, Moscow, New York, Paris, Rome,

Sydney, Warsaw);

Providing advice and information for representatives of

the international press and buyers from the fields of

cinema, video, TV;

Providing advice and information for German filmmakers and

press on international festivals, conditions of participation

and German films being shown, e.g. publication of a

comprehensive guide to international film festivals as well as

a German film festival guide;

Publication of informational literature on the current

German cinema: KINO-Magazine and KINO-Yearbook;

An Internet website (http://www.german-cinema.de)

offering information about new German films, a film

archive, as well as information and links to German and

international film festivals;

Organization of the selection procedure for the German

entry for the OSCAR for Best Foreign Language Film.

The focus of the work: feature films, documentaries with

theatrical potential and shorts that have been invited to the main

sections of major festivals.


more than 100 news items

more than 200 festival portraits

more than 500 German films

more than 1000 other useful things

to know about German Cinema

Export-Union des Deutschen Films GmbH · Sonnenstrasse 21 · 80331 Munich/Germany

phone +49-89-5 99 78 70 · fax +49-89-59 97 87 30 · email: export-union@german-cinema.de

Foreign Representatives


Dipl. Ing. Gustav Wilhelmi

Lavalle 1928 · 1º Piso

C1051ABD Buenos Aires

phone +54-11-49 52 15 37

phone + fax +54-11-49 51 19 10

email: gustav.wilhelmi@german-cinema.de


Martina Neumann

5206 Casgrain · Montreal, Quebec

H2T 1W9 · Canada

phone/fax +1-5 14-2 76 56 04

email: martina.neumann@german-cinema.de

China & South East Asia

Lukas Schwarzacher

Flat F, 18/F, Tonnochy Tower A

272 Jaffe Road


Hong Kong SAR, China

phone +8 52-97 30 55 75

fax +1-2 40-255-7160

email: lukas.schwarzacher@german-cinema.de


Cristina Hoffman

33, rue L. Gaillet

94250 Gentilly/France

phone/fax +33-1-49 8644 18

email: cristina.hoffman@german-cinema.de


published by:

Export-Union des

Deutschen Films GmbH

Sonnenstrasse 21

80331 Munich/Germany

phone +49-89-5 99 78 70

fax +49-89-59 97 87 30


email: export-union@german-cinema.de

ISSN 0948-2547

Credits are not contractual for any

of the films mentioned in this publication.

© Export-Union des Deutschen Films

All rights reserved. No reproduction, copy or

transmission of this publication may be made

without written permission.


Alessia Ratzenberger

Angeli Movie Service

via Aureliana, 53

00187 Rome/Italy

phone +39-06-4 82 80 18

fax +39-06-4 82 80 19

email: alessia.ratzenberger@german-cinema.de


Tomosuke Suzuki

Nippon Cine TV Corporation

Suite 123, Gaien House

2-2-39 Jingumae, Shibuya-Ku

Tokyo, Japan

phone +81-3-34 05 09 16

fax +81-3-34 79-08 69

email: tomosuke.suzuki@german-cinema.de


Stefan Schmitz

Avalon Productions S.L.

C/ Duque de Rivas, 2-2°D

28012 Madrid/Spain

phone +34-91-3 66 43 64

fax +34-91-3 65 93 01

email: stefan.schmitz@german-cinema.de


Production Reports

Contributors for this issue


Design Group

Art Direction

Printing Office

Financed by

United Kingdom

Iris Kehr

Top Floor

113-117 Charing Cross Road

London WC2H ODT/United Kingdom

phone +44-20-74 37 20 47

fax +44-20-74 39 29 47

email: iris.kehr@german-cinema.de

USA/East Coast

Oliver Mahrdt

c/o Hanns Wolters International Inc.

10 W 37th Street, Floor 3,

New York, NY 10018/USA

phone +1-2 12-7 14-01 00

fax +1-2 12-6 43-14 12

email: oliver.mahrdt@german-cinema.de

USA/West Coast

Corina Danckwerts

Capture Film, Inc.

2400 W. Silverlake Drive

Los Angeles, CA 90039/USA

phone +1-3 23-6 68-01 12

fax +1-3 23-6 68-08 53

email: corina.danckwerts@german-cinema.de

Angela Hawkins, Susanne Reinker

Martin Blaney, Simon Kingsley

Martin Blaney, Kerstin Decker,

Manfred Geier, Simon Kingsley

Lucinda Rennison

triptychon · agentur für design

und kulturkommunikation, Munich/Germany

Werner Schauer

ESTA Druck,

Obermuehlstrasse 90, 82398 Polling/Germany

the office of the Federal Government

Commissioner for Cultural Affairs and the Media.

Printed on ecological, unchlorinated paper.

66 Kino 2/2002

German Film Award

… and the nominees are:










Bella Martha

by Sandra Nettelbeck

Halbe Treppe

by Andreas Dresen


by Tom Tykwer

Nirgendwo in Afrika

by Caroline Link

Wie Feuer und Flamme

by Connie Walther


Black Box BRD

by Andres Veiel

A Woman and a Half-

Hildegard Knef

by Clarissa Ruge


Hilfe! ich bin ein Fisch

by Stefan Fjeldmark, Michael Hegner

Das Sams

by Ben Verbong


Andreas Dresen

for Halbe Treppe

Dominik Graf

for Der Felsen

Caroline Link

for Nirgendwo in Afrika


Karoline Eichhorn

in Der Felsen

Martina Gedeck

in Bella Martha

Juliane Koehler

in Nirgendwo in Afrika


Daniel Bruehl

in Nichts Bereuen, Das Weisse Rauschen

and Vaya Con Dios

Ulrich Noethen

in Das Sams

Antonio Wannek

in Der Felsen and Wie Feuer und Flamme


Annabelle Lachatte

in Das Weisse Rauschen

Eva Mattes

in Das Sams

Marie-Lou Sellem

in Mein Bruder der Vampir, Nichts

Bereuen and Hilfe, ich bin ein Junge!


Martin Feifel

in Was tun, wenn’s brennt?

Remo Girone

in Heaven

Matthias Habich

in Nirgendwo in Afrika















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