Titel Kino 3/2002 - german films

Titel Kino 3/2002 - german films

Titel Kino 3/2002 - german films


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Scene from ”Naked“(photo © Constantin Film)








in Competition




in Competition


Four German Films

in Competition



in Competition,


in New Directors’ Competition





Scene from ”The Tin Drum“

Der junge Toerless (1966) You’re a Man, My Boy · Mo

Kohlhaas – der Rebell (1969) Man on Horseback · Ba

Leute von Kombach (1971) The Sudden Wealth of the Poor

Georginas Gruende (1975) · Die verlorene Ehre d

Blum · Der Fangschuss (1976) · Deutschland im Her

The Tin Drum · Die Faelschung (1981) Circle of Deceit · U

a Salesman (1985) · A Gathering of Old Men (1987)

The Voyager · Billy Wilder, wie haben Sie’s gemach

Ogre · Palmetto (1998) · Die Stille nach dem Schus

oder er hat keine (2002)

at the50TH

Film Festival

19-28 September 2002


Scene from ”Germany

in Autumn“

Scene from ”The Ogre“

rd und Totschlag (1967) Degree of Murder · Michael

al (1970) · Der ploetzliche Reichtum der armen

People of Kombach · Strohfeuer (1972) Summer Lightning ·

er Katharina Blum (1975) The Lost Honor of Katharina

bst (1978) Germany in Autumn · Die Blechtrommel (1979)

n Amour de Swann (1984) Swann in Love · Death of

· The Handmaid’s Tale (1990) · Homo Faber (1991)

t (1992) Billy, How Did You Do It? · Der Unhold (1996) The

(1999) The Legends of Rita · Ein Produzent hat Seele

K I N O 3/2002

6 Pictures on the Box

Television in Germany

14 ”The Easy Way is Always Mined“

Director’s Portrait Romuald Karmakar

15 Curious About People

Director’s Portrait Connie Walther

18 Banding Together

Portrait of the

Association of German Film Exporters

20 A Company with an

Adventurous Spirit

Producers’ Portrait Egoli Tossell Film

22 KINO News

26 In Production

26 Befreite Zone

Norbert Baumgarten

26 Blueprint

Rolf Schuebel

27 Dirty Sky

Andy Bausch

28 Gone

Zoltan Paul

28 Kebab Connection

Anno Saul

29 Lively Up Yourself

Ed Herzog

30 Moby Dick: Die Legende kehrt zurueck

Michael Coldewey

30 Die Nacht singt ihre Lieder

Romuald Karmakar

31 Photographie und Jenseits –

Goff in der Wueste / D’Annunzios Hoehle

Heinz Emigholz

32 Soloalbum

Gregor Schnitzler

32 Trenck – Zwei Herzen gegen die Krone

Gernot Roll

33 Das Wunder von Bern

Soenke Wortmann

34 German Films at this Summer’s

International Film Festivals

36 German Films at the Sidebars

and German Co-Productions at

the International Summer Festivals

38 The 100 Most Significant

German Films (Part 6)

38 Berlin – Alexanderplatz

Piel Jutzi

39 Muenchhausen



Josef von Baky

40 Die Buechse der Pandora


Georg Wilhelm Pabst

41 Die Blechtrommel


Volker Schloendorff

















42 New German Films

42 Baby


Philipp Stoelzl

43 Bibi Blocksberg

Hermine Huntgeburth

44 Erkan & Stefan und

die Maechte der Finsternis



Axel Sand

45 Essen, Schlafen, keine Frauen


Heiner Stadler

46 Die Frau, die an

Dr. Fabian zweifelte



Andreas Rogenhagen

47 Fuehrer Ex

Winfried Bonengel

48 Geht nicht gibt’s nicht

René Heisig

49 Julies Rueckkehr


Agnieszka Holland

50 Junimond


Hanno Hackfort

51 Karamuk

Suelbiye Guenar

52 Der Kuss des Baeren


Sergei Bodrov

53 Mein erstes Wunder


Anne Wild

54 Mein kleines Kind


Katja Baumgarten

55 Nackt


Doris Doerrie

56 Pigs Will Fly

Eoin Moore

57 Scherbentanz

Chris Kraus

58 September Song

Ulli Lommel

59 Solino

Fatih Akin

60 Sophiiiie!

Michael Hofmann

61 Vaeter


Dani Levy

62 Das Verlangen


Iain Dilthey

64 Film Exporters

66 Foreign Representatives

66 Imprint














Excerpt from Tatort opening credits (photo © WDR)



Public Television

Although the first television broadcasts in Germany had been

made during the 30s, it was not until Christmas 1952 after the

Second World War that the screens began to flicker on a regular

basis. On 25 December, NWDR (Nordwestdeutscher

Rundfunk) – from which NDR and WDR later emerged –

began broadcasting a daily program from 8 pm to 10 pm (or

10:30 pm) and an afternoon program of thirty minutes or an hour

on some weekdays. The screens remained black for the rest of

the time. Today this seems inconceivable in face of the some forty

obtainable analogous television channels now providing the citizens

of the Federal Republic of Germany (FRG) with brightlycolored

images around the clock.

Television only began to assert itself gradually over the course of

the fifties. The television sets themselves were too expensive,

meaning that not everyone could afford one. Whilst a so-called

table set cost around DM 1,200 (approx. €610) at that time, over

DM 2000 (approx. €1,020) had to change hands at the electrical

shop for a luxury cabinet TV. Bearing in mind that the average

earnings of an employee in the FRG were DM 267 (approx. €135)

per month, people had to work for a long time to buy a TV set.

As a comparison: a VW beetle cost DM 3,950 (approx. €2,020)

back then.

by Dr. Oliver Castendyk & Prof. Lothar Mikos

Several highlights in the program were necessary before the

medium was helped to a breakthrough. As early as June 1953,

of course, the coronation of Queen Elisabeth II was broadcasted

live from 10:15 am to 5:15 pm, and the NWDR also broadcasted

three hours of film from London during that evening, but it

was not until the Football World Cup in Switzerland during 1954

that the citizens of the FRG cleared out the TV manufacturers’

stocks. In that year, the number of set owners rose from 11,658

in January to 84,278 in December, a rate of increase that would

never be achieved again.

At that time, television in the German Democratic Republic

(GDR) only broadcasted an experimental program. Nevertheless,

the number of television sets had risen from 70 (seventy!) in

1952 to 2,231 two years later - and the Football World Cup had

an effect here, too, for in 1955 there were already 13,600 homes

receiving TV. Today almost every household in the FRG owns a

TV set. In 2001, 35.1 million sets were registered at the GEZ

(Germany’s Central Television & Radio Fee Collection Office),

not to mention the large number of illicit viewers.

When broadcasting services were re-established in the western

occupied zones after the Second World War, the intention was

to avoid broadcasting with a bias serving one party or the state.

For that reason, the new stations were organized as independent

6 Kino 3/2002

institutions under public law (as so-called ”broadcasting corporations“)

and were controlled by pluralist committees (including

representatives from churches, unions, associations, political parties,

etc.). Their classical "broadcasting brief" demanded that

the programs be made up of elements of information, entertainment,

education and culture. Since the regulation of broadcasting

is the responsibility of the individual federal states according to

German constitutional law, the conditions for public broadcasting

were laid down in the broadcasting laws of each federal state, e.g.

the conditions for Bayerische Rundfunk (BR) in the BR-Law

of the Free State of Bavaria.

The state broadcasting institutions had to collaborate in order to

be able to broadcast a television program available in the whole of

the Republic. A joint working committee, the ”Association of

Public Radio & Television Institutions of the Federal Republic of

Germany“ (Arbeitsgemeinschaft der oeffentlichrechtlichen

Rundfunkanstalten der Bundesrepublik

Deutschland, ARD), was founded for that purpose in 1950.

Today it runs a nation-wide TV program: ”Das Erste“ (Channel

One). It amalgamates the state broadcasting institutions

Bayerischer Rundfunk (BR), Hessischer Rundfunk

(HR), Norddeutscher Rundfunk (NDR), Westdeutscher

Rundfunk (WDR), Radio Bremen (RB) and

Suedwestrundfunk (SWR), each of which also broadcasts

its own television program (the so-called third channels), some

parts of which can only be received in the corresponding federal


In 1961, the Zweites Deutsches Fernsehen (ZDF) also

came into being as a second nation-wide public broadcaster,

facilitated by a treaty between the federal states. In 1991, after

unification with the GDR, the ARD was extended to include two

new state broadcasting institutions, Ostdeutscher Rundfunk

Brandenburg (ORB) and Mitteldeutscher Rundfunk


In addition, ARD and ZDF have interests in additional public

broadcasting channels: 3Sat is a predominantly culture-oriented

joint program between ARD, ZDF and the Austrian and Swiss

broadcasting services, while the Children’s Channel (KiKa) and

the documentary, news and events channel Phoenix are jointly

run by ARD and ZDF. In addition, since 1992 they have also had

interests in the European culture channel ARTE, together with

the French culture channel La Sept. This collaboration is also

intended as a contribution to German-French understanding.

Kino 3/2002

ARD and ZDF are also involved in the news channel

Euronews through the amalgamation of European broadcasting

institutes in the European Broadcasting Union (EBU).

Financing of Public

Service Television

The public service broadcasters are financed primarily by radio

and television license fees. Every person who has a radio or TV

set available to receive broadcasts must pay a radio and/or television

license fee to the Central Fee Collection Offices (GEZ). At

present, the fee due for radio and television reception is approximately

€16 per month. Here, the determining factor is whether

one has the opportunity to receive programs, not whether one

actually watches public programs. All sets technically suited to

the reception of radio and TV broadcasts count as receivers.



According to a decision made by the federal state premiers,

personal computers are not considered radio receivers, at least

until 2003. Income from television advertising is limited, since

advertising is only permitted during ARD and ZDF programs

and advertising time is limited to 20 minutes per day, before 8 pm.

Private Television

There has only been private television in the Federal Republic

of Germany since 1984. Various technical, legal and political

questions had to be clarified before this became feasible. In 1981,

the Federal Constitutional Court established that a broadcasting

service founded on the basis of private law was fundamentally

constitutional, as long as it was organized free of the state, did not

serve biased opinion, and fulfilled certain fundamental questions

regarding its program. According to the doctrine of the dual

broadcasting system, private television is only permissible if there

is also a strong, influential public television service. The way was

then cleared for media laws in the federal states making the

authorization of private broadcasting stations possible. As a result

of progress in cable and satellite technology, the technical

preconditions had already been created for the distribution of

additional television channels. As early as November 1980, the

state premiers had agreed to test the possibilities for use and the

acceptance of cable television in four cable pilot projects. The era

of private television – financed solely by advertising income –



began on 1 January 1984 with the start of a cable pilot project in

Ludwigshafen and the founding of the first private broadcaster in

the FRG, the Satelliten Fernseh GmbH (SAT.1). RTL

plus, which had already been working from Belgium, then began

broadcasting in Germany as well.

More and more private stations joined these during the years

that followed, broadcasting their programs with differing levels of

success. The stations which offered a so-called Vollprogramm (full

program) achieved better viewing quotas than those presenting a

so-called Spartenprogramm (sectional program). A full program is

one characterized by a wide range of themes and programs,

potentially directed at all households with a television set. Today

the following private-commercial full programs are available for

reception: Kabel 1, ProSieben, RTL, RTL 2, SAT.1 and

VOX. A sectional program is the program of a broadcasting

station concentrating on a specific theme, for example news,

music or sport. The following sectional programs are available on

German television: atv (program in Turkish), Bloomberg TV

(economics), center tv (reports), CNN Deutschland

(news), DSF (Deutsches Sport Fernsehen, sport),

Eurosport, H.O.T. (Home Order Television, a shopping

channel), MTV (music), N24 (news), NBC Europe/GIGA-

TV (news/Internet and computer), n-tv (news), ONYX

(music), QVC (shopping channel), Super RTL (children’s and

family television), Neun Live (game shows), VIVA (music) and

VIVA PLUS (music).

Numerous private stations were founded during the nineties.

There are now around 40 stations which can be received nationwide

in Germany, as well as numerous regional stations and

local broadcasters. In addition, RTL, SAT.1 and VOX have

Fensterprogramm (window programs) with their own broadcasting

licenses, like Alexander Kluge’s DCTP (Development

Company for Television Program) for example, which

develops and offers viewers a variety of informational and cultural

programs for all three broadcasters. Window programs are

programs within a program, limited to a certain slot within

the main program.

But some of the stations and their programs may only be seen

on digital television in exchange for payment. The first station

to be financed by the fees paid by its subscribers rather than by

advertising was Premiere. This station began the organization of

pay TV in Germany on 28 February 1991. Mostly large publishing

houses like Axel Springer, Heinrich Bauer, Holtzbrinck and the

WAZ Group (WAZ = Westdeutsche Allgemeine Zeitung),

but also media concerns such as

Bertelsmann and the film trader

Leo Kirch had shares in the new

broadcasting stations. With DF1,

the latter also started the first

experiments with digital television

in Germany. DF1 later merged

with Premiere to form the digital

pay TV station Premiere World.

However, the market success of

pay TV remained below expectations.

Reasons for this include the

large number of high-quality ”free“

TV programs available in Germany,

as well as the costs of license fees


and cable connection fees* which must be paid above and beyond

the regular GEZ registration fee, among others.

Media Anti-Trust Legislation

According to German media anti-trust legislation, a company may

only control a limited number of television channels. A company

is not permitted to exceed - with all the stations in which it has

interests of more than 10% - an average annual market share of

30%. However, since the organization of private television is an

expensive undertaking and a second utilization is necessary to refinance

large program packages, concentration processes took

place during the 90s. At the moment there are two large private

broadcasting "families:

1) the stations which belonged to the media concern of the film

trader Leo Kirch: SAT.1, ProSieben, Kabel 1, Premiere

World, N 24, DSF, H.O.T., Neun Live and local channels in

Berlin, Hamburg and Munich, with a market share of 25,8% and

2) the stations which belong to the Bertelsmann concern

(RTL, RTL II, Super RTL and VOX) with a market share

of 24,7%.

However, this division of the television market in Germany has

now been set in motion by the crisis at the Kirch concern. It is

likely that proportional shares in the Kirch stations will shift in the

near future. But while the situation regarding ownership will probably

change, the program structure of the stations is likely to

remain largely unaltered.

Program Content on

German Television

A large range of programs has also developed along with the large

number of channels. During the fifties, it was either necessary to

produce live in the studio, since magnetic image recording systems

were not yet available, or to offer live broadcasts of public events.

In addition, feature films could be shown. At that time, television

(*Editor’s Note: The current average price for basic cable television in Germany amounts

to approx. €13 monthly plus €33 for a one-time installation fee; further services such as

Premiere cost an additional €18 monthly, plus €7.50 monthly for the digital decoder

required to receive the program.)

Some of Germany’s most well-known television exports: Derrick (photo © ZDF), Tatort (photo © WDR/Max Kohr),

Kino 3/2002

- T E L E V I S I O N I N G E R M A N Y

dramas were acted live on a stage in the studio – a theater on

television, as it were. A regular news program was established

as early as 1952 with the ”Tagesschau“. There were also

discussion programs distantly related to today’s talk shows,

programs showing children how to make things, advice programs

with gymnastics for housewives, dance courses, cooking tips,

animal programs – and of course sport. From 1954 onwards, the

”Schoelermann“ family delighted the German television nation in

the family series Unsere Nachbarn heute Abend, which ran for a

total of 111 episodes in the course of 7 years. In addition to the

family series, crime series were a particularly effective means with

which the citizens of the FRG were held spellbound before their

TV sets. When the Durbridge crime stories were on television, the

streets outside were empty – the term ”Strassenfeger“ (street

sweeper) became common to refer to successful programs. Panel

games and the first quiz shows were also popular with the public.

The introduction of magnetic image recording in 1959 meant that

program design became more flexible, and more and more broadcasting

forms developed.

Program orientation at the public and the private stations is

subject to constant change. In 1981, the ARD was able to land a

viewing quota success with the US series Dallas, and ZDF

followed a year later with the rival series Denver Clan (original:

Dynasty). Although not as dependent on advertising income as the

private broadcasters, viewing quota successes are also important

for the public service stations, since these enable them to demonstrate

that they are fulfilling their brief to provide the population

with education, information and, in this case, entertainment. Later

series such as Die Schwarzwaldklinik, Diese Drombuschs and soaps

like Die Lindenstrasse were particularly successful. And public

stations ventured into spheres beyond conventional family entertainment

with shows such as Donnerlippchen or 4 gegen Willi. By

contrast, initially the private stations filled their programs with

series and game shows bought from the USA. But after a phase of

consolidation they also began to produce their own series and

television dramas, which were then known as ”TV movies“.

During the nineties, numerous forms of program were added to

these, some of which were much-disputed: daily talk shows, daily

soaps, docu-soaps, reality shows like Big Brother, and finally the

quiz show boom. There are often short-term program trends

during which new forms are very successful. But the hype is soon

over. This does not mean however that the program formats

disappear, instead they merge into the full, diverse range of

programs on offer.

The diversity of program forms to be found in all the full pro-

Kino 3/2002

grams means that it is becoming more and more difficult for

stations to adopt an unmistakable profile. On the one hand, this

is achieved by means of ”prominent personalities“ as presenters,

or stars in series who can then be identified with a specific

channel; on the other hand, by quality in specific program areas.

The public stations, for example, repeatedly emphasize their

information profile and react with some irritation if – as in the

case of reporting on the events of 11 September 2001 – they

face competition from the private stations. SAT.1 attempts to

make its mark by commissioning the production of several-part

series. ProSieben is seen as the feature film channel, but it also

presents itself as an outlet for comedy formats and expensive

documentaries, whilst RTL has very successful quiz shows with

famous stars and media personalities, and wins over viewers with

action and comedy series.

Despite these differences, there are general program trends that

are true of all stations. For example, the proportion of fictional

and non-fictional entertainment during so-called prime time in the

evenings is increasing, whilst the proportion of information is

decreasing. In the field of entertainment in particular, the relation

between in-house or commissioned productions and bought-in

productions is interesting. Here it emerges that the ”big“ full

programs with average market shares of more than 10% are

increasingly putting their money on in-house, commissioned or

co-productions for first broadcasts (proportion during 2001 at

ARD 65.0%, ZDF 69.6%, RTL 39.6%, SAT.1 45.8%),

whilst bought-in productions are more important for the smaller

stations (proportion during 2001 at ProSieben 36.9%, VOX

27.4%, RTL II 46.7%, Kabel 1 43.5%). One of the reasons for

this is that in-house and commissioned productions bring higher

viewing quotas than bought-in productions, meaning that the

production costs are more likely to be refinanced by advertising.

A similar trend may also be seen in the case of repeats. The

relation of in-house and bought productions is also reflected in

the proportion of German productions to US productions.

Whilst the German productions clearly dominate in the case of

the ”big“ stations, even more clearly at the public channels ARD

and ZDF than at RTL and SAT.1, the relation at the smaller

stations – except at VOX – is the other way around and the US

productions dominate here.

But simple statistics do not reveal much about the profiles of

the individual stations. Here it is evident that a profile can be

achieved by means of in-house and commissioned productions

rather than by bought programs. One of the reasons for this is

that programs are often bought in packages which only include

Die Lindenstrasse (photo © WDR/ Harald Kratzer), Kommissar Rex (photo © mungo-film), Ein Fall fuer Zwei (photo © ZDF/ Martin Sperling)



isolated highlights likely to bring viewing quotas. In the case of

in-house, commissioned and co-productions, there is more

opportunity to assume a specific profile, with action and comedy

series and show formats in the case of RTL, or with hospital

and comedy series as well as several-part programs at SAT.1.

Of course, the public channels also back the mainstream, but it

is also possible to find arthouse films and unusual experiments;

the latter include the internationally renowned Kleines Fernsehspiel

at ZDF or programs on ARTE, whilst documentary films are

frequent on the ”third channels“ of the ARD. The makers of the

Kleines Fernsehspiel aim to offer a forum for experimental films

and creative young filmmakers with the program. This claim

means that they also fulfill the educational and cultural brief of the

public service broadcasting stations, according to which provisions

must also be made for minorities.

In face of the large number of available television programs and

even more program formats, the German television market may

appear confusing at first glance. However, structures and channel

profiles emerge upon closer investigation, making it clear that

not every station puts its money on in-house and commissioned

productions, and that despite the pressure of viewing quotas,

arthouse films and documentaries do have a chance with some

broadcasting stations.


Dr. Oliver Castendyk is the director of the Erich Pommer

Institute/University of Potsdam and an attorney at

Noerr, Stiefenhofer & Lutz in Berlin

Dr. Lothar Mikos is a professor at the ”Konrad Wolf“

Academy of Film & Television (HFF/B) in Potsdam

Translation: Lucinda Rennison

Kino 3/2002




Funkhaus Mainz

Postfach 3740 · 55027 Mainz/Germany

phone +49-61 31-9 29 37 10 · fax +49-61 31-9 29 30 10


Program Director: Dr. Christof Schmid

Features/Documentaries/Co-Productions/Buyers: Inge Classen,

Margrit Schreiber

Erstes Deutsches Fernsehen (ARD)

Arnulfstrasse 42 · 80335 Munich/Germany

phone +49-89-59 00 01 · fax +49-89-59 00 32 49

www.ard.de · www.das-erste.de

Program Director: Dr. Guenter Struve

Features: Dr. Juergen Kellermeier

Documentaries: Hartmann von der Tann

Co-Productions/Buyer: Joachim Lampe

ARTE Deutschland TV GmbH

Schuetzenstrasse 1 · 76530 Baden-Baden/Germany

phone +49-72 21-9 36 90 · fax +49-72 21-93 69 50

Program Director: Dr. Klaus Wenger, Peter Wien

Features/Co-Productions/Buyer: Thomas Neuhauser

Documentaries: Ursula Hocker

Bayerischer Rundfunk (BR)

Floriansmuehlstrasse 60 · 80939 Munich/Germany

phone +49-89-38 06 02 · fax +49-89-59 00 23 75


Program Director: Dr. Gerhard Fuchs

Features/Documentaries/Co-Productions/Buyer: Walter Greifenstein

Deutsche Welle (DW-tv)

Voltastrasse 6 · 13355 Berlin/Germany

phone +49-30-4 64 60 · fax +49-30-4 63 19 98


Program Director: Christoph Lanz

Documentaries: Dr. Arno Hefner

German TV

Voltastrasse 6 · 13355 Berlin/Germany

phone +49-30-46 46 51 00 · fax +49-30-46 46 51 51


Program Director: Dr. Wolfgang Krueger

Hessischer Rundfunk (HR)

Bertramstrasse 8 · 60222 Frankfurt/Germany

phone +49-69-15 51 · fax +49-69-1 55 29 00


Program Director: Dr. Hans-Werner Conrad

Features/Co-Productions/Buyer: Liane Jessen

Documentaries/Co-Productions/Buyer: Georg M. Hafner

Der Kinderkanal (KiKa)

Gothaer Strasse 36 · 99094 Erfurt/Germany

phone +49-3 61-2 18 18 90 · fax +49-3 61-2 18 18 48


Program Director: Frank Beckmann

Features/Documentaries/Co-Productions/Buyer: Sebastian Debertin

Mitteldeutscher Rundfunk (MDR)

Kantstrasse 71-73 · 04275 Leipzig/Germany

phone +49-3 41-30 00 · fax +49-3 41-3 00 67 89


Program Director/Co-Productions/Buyer: Wolfgang Vietze

Features: Jana Brandt

Documentaries: Wolfgang Kenntemich, Dr. Claudia Schreiner

Kino 3/2002

Norddeutscher Rundfunk (NDR)

Hugh-Greene-Weg 1 · 22529 Hamburg/Germany

phone +49-40-4 15 60 · fax +49-40-44 76 02


Program Director: Dr. Juergen Kellermeier

Features: Doris J. Heinze

Documentaries: Volker Zielke, Hans-Juergen Boerner

Co-Productions/Buyer: Joachim Lampe

Ostdeutscher Rundfunk Brandenburg (ORB)

Marlene-Dietrich-Allee 20 · 14482 Potsdam/Germany

phone +49-3 31-73 10 · fax +49-3 31-7 31 35 71


Program Directors: Volker von der Heydt, Johannes Unger

Features: Birgit Mehler, Cooky Ziesche

Co-Productions/Buyers: Ursula Kort, Nawid Goudarzi

PHOENIX. Ereignis- und Dokumentationskanal

Langer Grabenweg 45-47 · 53175 Bonn/Germany

phone +49-2 28-9 58 40 · fax +49-2 28-9 58 42 05


Program Directors: Bodo H. Hauser, Dr. Klaus Radke

Documentaries/Co-Productions/Buyer: Carl-Ludwig Paeschke

Radio Bremen (RB)

Hans-Bredow-Strasse 10 · 28323 Bremen/Germany

phone +49-4 21-24 60 · fax +49-4 21-2 46 10 10


Program Director: Dirk Hansen

Features: Rolf B. Tiesler

Documentaries: Gerhard Widmer

Sender Freies Berlin (SFB)

Masurenallee 8-14 · 14057 Berlin/Germany

phone +49-30-3 03 10 · fax +49-30-3 01 50 62


Program Director: Barbara Groth

Features: Dr. Ina Goetz

Documentaries: Dr. Hannelore Wolff

Co-Productions/Buyer: Soeren Schuman

Saarlaendischer Rundfunk (SR)

Funkhaus Halberg · 66100 Saarbruecken/Germany

phone +49-6 81-60 20 · fax +49-6 81-6 02 38 74


Program Director: Dr. Hans-Guenter Brueske

Features: Dr. Michael Beckert

Documentaries: Dr. Vera Meyer-Matheis

Suedwestrundfunk (SWR)

Hans-Bredow-Strasse · 76530 Baden-Baden/Germany

phone +49-72 21-9 29 46 46 · fax +49-72 21-9 29 63 03


Program Director: Dr. Christof Schmid

Features: Carl Bergengruen

Documentaries: Peter Michael Latzel

Westdeutscher Rundfunk (WDR)

Appellhofplatz 1 · 50667 Cologne/Germany

phone +49-2 21-22 00 · fax +49-2 21-2 20 48 00


Program Director: Ulrich Deppendorf

Features: Gebhard Henke

Zweites Deutsches Fernsehen (ZDF)

ZDF-Strasse 1 · 55127 Mainz/Germany

phone +49-61 31-7 01 · fax +49-61 31-70 21 57


Program Director/Documentaries/Buyer: Hans Janke

Features: Georg Alexander




Development Company for Television Program (DCTP)

Koenigsallee 60b · 40212 Duesseldorf/Germany

phone +49-2 11-1 39 92 28 · fax +49-2 11-1 39 92 27


Managing Director: Prof. Dr. Alexander Kluge

Features: Maritta Huettepohl

Documentaries: Jakob Krebs

Deutsches Sportfernsehen GmbH (DSF)

Munchner Strasse 101g · 85737 Ismaning/Germany

phone +49-89-96 06 60 · fax +49-89-9 60 66 10 09


Program Director/Documentaries/Co-Productions/Buyer:

Hagen Offermann

N24 Gesellschaft fuer Nachrichten und

Zeitgeschehen mbH

Oberwallstrasse 6 · 10117 Berlin/Germany

phone +49-30-2 09 00· fax +49-30-20 90 46 69

Program Director: Peter Rampp

Documentaries: Vera Stoehr

Co-Productions/Buyer: Michael Meudt

News and Pictures Fernsehen GmbH

Otto-Schott-Strasse 9 · 55127 Mainz/Germany

phone +49-61 31-60 00 · fax +49-61 31-6 00 25 03


Program Director: Richard Kremershof

Documentaries: Rudolf Peters

ProSieben Television GmbH

Medienallee 7 · 85774 Unterfoehring/Germany

phone +49-89-95 07 10 · fax +49-89-9 50 71 18 84


Program Director/Features/Co-Productions/Buyer: Thomas Schultheis

Documentaries: Thomas von Hennet

RTL Television GmbH

Aachener Strasse 1044 · 50858 Cologne/Germany

phone +49-2 21-45 60 · fax +49-2 21-4 56 16 90


Managing Director: Gerhard Zeiler

Features: Peter Weckert

Co-Production/Buyer: Beatrice Rieber

RTL 2 Fernsehen GmbH & Co. KG

Bavariafilmplatz 7 · 82031 Gruenwald/Germany

phone +49-89-64 18 50 · fax +49-89-64 18 59 99


Program Director: Josef Andorfer

Features: Minea Bauer

Documentaries: Torsten Prenter

Sat.1 SatellitenFernsehen GmbH

Jaegerstrasse 32 · 10117 Berlin/Germany

phone +49-30-2 09 00 · fax +49-30-20 90 20 90


Program Director: Martin Hoffmann

Features/Co-Productions/Buyer: Alicia Remirez

Documentaries: Joerg Howe


K1 Fernsehen GmbH

Gutenbergstrasse 1 · 85774 Unterfoehring/Germany

phone +49-89-95 07 21 00 · fax +49-89-95 07 22 09


Managing Director: Andreas Bartl

Program Director: Kristina Imgrund

n-tv Nachrichtenfernsehen GmbH & Co. KG

Taubenstrasse 1 · 10117 Berlin/Germany

phone +49-30-20 19 00 · fax +49-30-20 19 05 05


Program Director: Dr. Helmut Brandstaetter

ONYX Television GmbH

Im Medienpark 6b · 50670 Cologne/Germany

phone +49-2 21-57 43 76 00 · fax +49-2 21-57 43 76 06


Program Director: David Pierre-Bloch

Premiere Fernsehen GmbH & Co. KG

Medienallee 4 · 85774 Unterfoehring/Germany

phone +49-89-99 58 63 02 · fax +49-89-99 58 62 39


Managing Director: Dr. Georg Kofler

Program Director: Rainer Ingber

VIVA Fernsehen GmbH

Im Medienpark 7 · 50670 Cologne/Germany

phone +49-2 21-5 74 40 · fax +49-2 21-57 44 22 22


Program Director: Stefan Kauertz

VOX Film- und Fernseh GmbH & Co. KG

Richard-Byrd-Strasse 6 · 50829 Cologne/Germany

phone +49-2 21-9 53 40 · fax +49-2 21-95 34 80 00


Program Director: Ladya van Eeden

Features: Hans Demmel

Documentaries: Beate Uhrmeister-Barz


Degeto Film GmbH

Am Steinernen Stock 1 · 60320 Frankfurt/Germany

phone +49-69-1 50 90 · fax +49-69-1 50 93 33

Program Director/Features/Co-Productions/Buyer:

Hans-Wolfgang Jurgan

Telepool GmbH

Sonnenstrasse 21 · 80331 Munich/Germany

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


Managing Director: Dr. Thomas Weymar

Features: Dr. Cathy Rohnke

Documentaries: Patrick Metyas

Co-Productions/Buyer: Marc Gabizon

See our website www.german-cinema.de

for a more complete list of broadcasters

12 Kino 3/2002


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

Director’s Portrait Romuald Karmakar

A large number of critics view Romuald

Karmakar as one of the most controversial and

aesthetically and politically radical contemporary

German filmmakers. His films are seldom shown in

Germany without provoking a momentous debate.

In 2000, it was possible to see The Himmler

Project within the context of the International

Forum of Young Film at the Berlin Film Festival: an

actor (Manfred Zapatka) stands in front of a

gray wall and reads the carefully reconstructed text

of a three and a half hour speech which Heinrich

Himmler held before 92 SS-generals in 1943, the

protocol of which has been stored in the appendix

of the documents concerning the Nuremberg

Trials since 1947. Karmakar calls his working

process a ”re-concretizing“, for the film is neither a

mere document nor a feature film, in fact he puts

his audience in an ambivalent position: on the one

hand, we are witnesses to an historical speech, on

the other hand, we cannot avoid feeling addressed

by it ourselves, and we feel identical to its former

target group.

It is this mixture of film aimed at both the intellect

and the emotions which constitutes the quality of

Karmakar’s works; it is extremely difficult to

evade what is visible and audible, even when this

approaches the limits, causing disquiet or sometimes

even disgust. And yet his cinema never has a

pedagogic intent. His films are not easy to digest,

they are confrontations with themes which are difficult

to bear. Who wants to know anything about

cock fights? Or boxers, or the trainers of fighting

Romuald Karmakar was born in 1965 in Wiesbaden, and now lives in Berlin.

He owes his French citizenship to a multi-ethnic family background, and he completed

military service in France from 1987-1988, producing his first internationally successful

short film Coup de Boule (1987) during this time. But Karmakar had

already made his first auto-didactic Super 8 films before that; like many of Germany’s

distinguished film directors, he has never studied at a film academy. His initial interest

was in documentary film, the themes including cock fights in Gallodrome (1988),

fighting dogs in Hunde aus Samt und Stahl (1989), boxers in Infight (1984),

and mercenaries in Warheads (1989-1992). Finally, in 1994, he founded Pantera

Film, whose first production under Karmakar’s direction caused an international

sensation. The feature film The Deathmaker (Der Totmacher, 1995) not

only received an award at the Venice Film Festival in 1995, but also won innumerable

national prizes (including German Film Awards in Gold for Best Director, Best

Screenplay, and Best Actor). This was followed by Frankfurt - Millennium

(Das Frankfurter Kreuz, TV, 1998), the German contribution to the ARTE

series 2000 vu par, and Manila (2000), which received the Silver Leopard at Locarno

in 2000. Finally, in 2000, The Himmler Project (Das Himmler Projekt)

entered into discussion in Germany, and the New York Museum of Modern Art

acquired the film for its archives.



14 Kino 3/2002

Romuald Karmakar (photo © Bodo Vitus)

Director’s Portrait Romuald Karmakar

dogs? Who wants to hear about international mercenaries?

Warheads was made at the beginning of the 90s, when the war

in former Yugoslavia seemed infinitely far away, even for

Europeans. At that time, German film critics in particular – absurdly

– accused him of a lack of distance. He probably just

looked far too closely at the interconnections between the war

games in US American training camps, the training grounds of the

French Foreign Legion, and a real war at the center of Europe.

Karmakar’s strength is that he approaches his subjects and

those actively involved in them without reservation, but with the

will to show: this exists. This has happened. And it will go on happening.

As Karmakar sees it, an entire generation of German

artists and filmmakers has taken cover behind a ban on certain

images – people have maintained, and still do, that the horror of

the Shoah, the crimes of the German Armed Forces, of the SS, of

each individual German could not be shown. ”They have just

avoided attempting it. It is possible to show these things if you

seriously want to,“ Karmakar counters, and each of his films is

evidence of such.

But Karmakar wants to show guilt, whether he is making a feature

film or a documentary work. Sometimes it is not possible to

draw such a clear dividing line in his works, and this has something

to do with a notion of historiography which refers to a ”before“

and an ”afterwards“, to real events, their premises, their myths

Director’s Portrait Connie Walther

and their fictionalization. Karmakar occupies an interface which

may not only be drawn between the past of the Third Reich and

the present of a young Berlin republic, but also one which

continually confronts German audiences with themselves - perhaps

the reason why his work is better understood abroad. His films

are anything but easy, neither for the filmmaker nor for his international

audience. ”The easy way is always mined,“ says

Karmakar, describing his approach. We shall also be able to

follow his difficult route in the future, as several projects are

currently in development: these include Night’s Song (Die

Nacht singt ihre Lieder, cf. p. 30), the filming of a theater

play by the Norwegian author Jon Fosse, and a feature film about

the crimes of a German police battalion posted in Poland during

National Socialism. The working title is a quotation from one of

the perpetrators: ”I made every effort, and this was possible, to shoot

only children“ (”Ich habe mich, und es war mir moeglich, bemueht, nur

Kinder zu erschiessen“).

Romuald Karmakar spoke to Veronika Rall, journalist and

editor for DieWochenZeitung in Zurich



Never Mind the Wall (Wie Feuer und Flamme, 2001),

the first full-length feature film for the cinema made by Adolf

Grimme Award-winner Connie Walther, impressed not only

its German audiences, but also the film representatives at the

Federal Ministry for Cultural Affairs and the Media. The screenplay

received an award in 2001, and this year the film was nominated

for the German Film Award and won the German Camera Award in

June 2002.

In the film, Connie Walther links the history of a divided and

re-unified Germany with a sensitive depiction of youthful impotence

and the process of growing up within this state organization.

Nele, a young girl from West Berlin, gets to know the punk,

Captain, in East Berlin during 1982 and soon falls in love with him.

The state and their parents present the couple with considerable

opposition, but their love survives the system. Romeo and Juliet

alongside the Berlin Wall.

The film met with positive echoes at film festivals in Korea, Italy

and the USA, where people were curious about the stories behind

the historical events. Facts about the divided Germany may have

been readily available world-wide, but Connie Walther

presents the emotions and the people behind these facts.

Kino 3/2002

Along with its political background, the film also emerges as

extremely authentic in human terms, which may be due to

Connie Walther’s talent in the direction of young actors,

something she had already demonstrated with her first, awardwinning

dffb graduation film Das erste Mal in 1996. Here a

teenager shares his dream world with the film hero Johnny Depp.

But Connie Walther obviously has no intention of being pinned

down. As well as an action film and a documentary about

Germany’s successful girl trio Tic Tac Toe, she caused some

astonishment in 1998 with the Adolf Grimme Award-winning television

film Hauptsache Leben, about the story of a woman

faced with the diagnosis of breast cancer, showing how she confronts

her fate with an unconditional will to live.

”I don’t have my own form, but my own themes. If a tendency

towards drama is dominant, that is due to my feelings rather

than to any ties with a specific genre. But the action film The

Clown 2 (1997) also made for an interesting change from

intellectual challenges“, says the director, and also reveals her

opinion on the debate taking place in Germany concerning the

position of German cinema at present: ”It is certainly possible to

take up different positions within one country, but the frantic

search for a definition of the ‘German film’ is utterly superfluous.


Connie Walther (photo © Karoline Bofinger)

Director’s Portrait Connie Walther

Often a successful film here is equated with a ’film for audiences’,

as if all the others were only making films for themselves. All

filmmakers are searching for an audience. If they don’t find one, it

often has far more to do with a difficult market situation than with

’difficult films’.“ Rather than reverting to a German film language,

which has been suppressed by American cinema for decades

anyway, she thinks it is more important to take up German themes

and translate these into a pictorial language suited to the film

material - the way she did in Never Mind the Wall. ”We

should make an effort to love our films the way that the French do

theirs. But unless we filmmakers learn to accept the numerous different

approaches to film in our country, we cannot expect the

public to do so.“


Connie Walther grew up during the 60s in the small village of Erfelden in the

German state of Hessen. After studying Sociology and Spanish in Marburg, she

trained as a commercial photographer in Duesseldorf, followed by work as an

assistant producer and director before finally beginning her studies at the German

Film and Television Academy (dffb) in Berlin. Her graduation film Das erste Mal

(1996) was declared ”Best Film of the Year“ from a German film school. After an

outing into the action genre with The Clown 2 (1997), Connie Walther received

the Adolf Grimme Award for her television film Hauptsache Leben in 1998.

In 1999, a documentary about the girl group Tic Tac Toe and a Tatort (”Scene of the

Crime“) episode Offene Rechnung followed. She had her feature film debut with

Never Mind the Wall (Wie Feuer und Flamme) in 2001, which was

nominated for the German Film Award and received four festival awards. At present,

she is working on the film Schattenwelten. Connie Walther lives in Berlin.

Meanwhile, Connie Walther continues to go

her own way. Some time ago, she worked her way

forward from the private sphere in Das erste

Mal to the political-social context with Never

Mind the Wall. And her new project – titled

Schattenwelt, which is presently being made

with the Berlin production company zero film, a

film devoted to the debate concerning the former

Red Army Faction and its victims – will give her

more opportunity to demonstrate her ability to

combine political themes and emotional cinema, so

persuading the audience to consider important

topics with openness and interest. ”It will be a film

without compromise, with respect to both content

and form.“ She is not prepared to divulge any

more. Shooting is to take place in the (German)


Connie Walther spoke to Hagen Liebig,

editor at Tip Magzin in Berlin

Kino 3/2002



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

Portrait Association of German Film Exporters

German Title Verband der deutschen Filmexporteure (VDFE) English Title

Association of German Film Exporters Managing Director Lothar Wedel

Board Wolfram Skowronnek (Telepool), Thorsten Schaumann (Bavaria Film International)

Founded in 1956 Headquarters in Munich Member Companies

Arri Media Worldsales, Atlas International Film, Bavaria Film International, Beta

Cinema/Beta Film, Cine Aktuell, Cine-International, Cinepool (a Division of Telepool),

Dieter-Wahl-Film, Exportfilm Bischoff & Co., German United Distributors,

Kinowelt Lizenzverwertung, Media Luna Entertainment, Progress Film Verleih, Road

Sales Mediadistribution, RRS Entertainment, Transit Film, Uni Media International,

Waldleitner Media

Association of German Film Exporters

Tegernseer Landstrasse 75 · 81539 Munich/Germany

phone +49-89-6 42 49 70 · fax +49-89-6 92 09 10

email: mail@vdfe.de · www.vdfe.de



If a country has a large enough film industry, large enough to

sustain a viable production base, it stands to reason that it will

also have a sizeable film export industry. And if enough companies

are involved in the business of film export, then they are going

to have their own trade association to represent their collective


In Germany, these interests are represented by the Verband

deutscher Filmexporteure (VDFE) – the Association

of German Film Exporters.

From the largest and most important festival, such as Cannes, to

the smallest, you will find the 18 member companies doing business.

At the larger events, such as the Berlin Film Festival, look for

the Association to make its own appearance. But what exactly is

the VDFE and what are its aims?

Q: The Association of German Film Exporters was founded in 1956

and has eighteen member companies. What are the Association’s


Wolfram Skowronnek: ”The Association, with Lothar

Wedel at its head, functions as a general interest body for the

sale of German films overseas. We are involved in the activities of

the Export-Union as one of its shareholders. We are also

members of the SPIO (Spitzenorganisation der Filmwirtschaft)

and are represented on the various committees of

the German Federal Film Board (Filmfoerderungsanstalt/FFA).“

Thorsten Schaumann: ”In this way, we can exercise a certain

influence on film-political matters. We contribute constructively so

as to support the exporters as well as bring more emphasis to the

promotion of German film abroad.“

Q: In which ways can an export association lobby within Germany?

Wolfram Skowronnek: ”After years of holding back we are

now particularly concerned to bring a new drive into the

Association. This includes, among others, the conception of our

new internet site, where people can access continually up-to-date

information from our members. We conduct the media-political

work through our engagement in the various institutions and associations.“

Thorsten Schaumann: ”Export is often an undervalued part

of the film industry, and it needs an enormous amount of lobbying

here in Germany too. We advance the interests of the film

exporters in any changes in the film-political and legal situation.

For individual companies that is, of course, more difficult.“

Q: And abroad?

Wolfram Skowronnek: ”We are involved in suggestions

regarding the FFA/Export-Union’s foreign representatives (cf.

p. 66), and their selection. These people have the know-how and

contacts with foreign distributors. They also organize festivals for

German films. In addition, we maintain contact with other foreign

export associations. And we are, of course, represented by the

Association at the large international markets. So at the Milan

MIFED and at the AFM in Santa Monica we see ourselves as the

voice of the German exporters, should something like problems

with the market stand or screening conditions crop up.“

Q: What opportunities do German films have abroad?

Thorsten Schaumann: ”Our problem is that since the enormous

success of Run Lola Run (Lola rennt, 1998), which

was very pop-culture oriented, this has become the standard by

which we have to let ourselves be measured. But there are successful

films every year, like Gloomy Sunday (1999), Ants in

the Pants (Harte Jungs, 2000) or Mostly Martha (Bella

Martha, 2001). But buyers are becoming increasingly selective in

their choices and are concentrating more on specialized products.

18 Kino 3/2002

Wolfram Skowronnek, Lothar Wedel, Thorsten Schaumann

Portrait Association of German Film Exporters

This is reflected in our offerings, which we want to use to gain

international attention for special German productions. We see

the best possibility to generate interest and sales by creating a

marketing platform for festivals and German Film Weeks, where

German films prove themselves popular time after time. This

continually improves the chances of German film abroad.“

Q: How do you rate the work of the Export-Union?

Wolfram Skowronnek: ”I am extremely pleased with what it

achieves. It has changed enormously over the last two years.

Alongside its everyday work, it had, still has, to constantly defend

itself against criticism and accusations. In the meantime, it has now

achieved a status it can be proud of.“

Thorsten Schaumann: ”The suggestions for improvement

from outside are also increasingly more constructive and the

Export-Union has proven that it is also capable of putting new

ideas into action. It is obviously continuing to make progress.“

Kino 3/2002

Q: What tasks remain for the future?

Thorsten Schaumann: ”In particular, we want to ensure that

film export is given more weight in the law on film subsidy and

promotion. We would like to see more done in the way of subsidies

to promote the presentation of films abroad. We would like

to see work undertaken towards financially supporting foreign

distributors who release German films. We want to provide our

members with access to a network. It’s only if we support each

other that we will stand any chance of long-term success.“

The Export-Union is grateful to the magazine Blickpunkt:Film

for its kind permission to reprint a translation

of the original interview (from Blickpunkt:Film 21/22/02).


Producers’ Portrait Egoli Tossell Film

English-born Judy Tossell entered the film industry in 1990 and worked for five years at Ziegler Film on international co-productions

before leaving in 1995 to freelance on the developing of projects with first-time filmmakers. In 1996, she founded Tossell

Pictures to produce the short Chainsmoker (1997) by Maria von Heland and placed the company’s emphasis on young

filmmakers, shorts (Britta Krause’s Five Minutes/Fuenf Minuten, 1998) and first features (such as Achim von

Borries’ England!, 2000). Jens Meurer started working as a director of documentaries in the US and former Soviet Union –

with such films as Harlem – A Dream Deferred (1989) and Beyond the Kremlin Walls (1990-1992) – before launching

Egoli Films in 1993 as a platform for his own films as well as those of other filmmakers. Egoli’s productions included Meurer’s

own Jeckes – Distant Relatives (1997), Thomas Hausner’s Made in Germany (1997), Fredrik von

Krusenstjerna’s Lost Sons (1999), Judith Keil & Antje Kruska’s Exit East (Ausfahrt Ost, TV, 1999), and Nana

Djordjadze’s 27 Missing Kisses (2000). Oliver Damian, the third member of Egoli Tossell Film’s board of directors,

joined Egoli Films in 1993 and participated in the MEDIA Program’s EAVE training program for young producers in 1998. As head

of production, he controls the physical production of the company’s projects and worked together with Meurer as producer on

27 Missing Kisses. Tossell Pictures and Egoli Films merged in early 2001 to create ”a single, more active, more influential,

more adventurous film enterprise“ – Egoli Tossell Film AG. The first productions completed under the new umbrella are

Maria von Heland’s Big Girls Don’t Cry (Grosse Maedchen weinen nicht, 2002), Katalin Goedroes’

Mutanten (2002), and Alexander Sokurov’s Russian Ark (2002), which was shown in competition at Cannes this year.

Egoli Tossell Film AG · Burgstrasse 27 · 10178 Berlin/Germany

phone +49-30-2 46 56 50 · fax +49-30-24 65 65 24 · email: contact@egolitossell.com · www.egolitossell.com



”We had already worked in close proximity with one another so it

was logical to bring the two companies of Egoli Films and

Tossell Pictures together at the beginning of 2001,“ says Jens

Meurer. ”The idea was to reach a critical mass, to be able to

afford a more structured apparatus and to make more films.“

“To an outsider, our slate is a quite eclectic collection of projects

which we think is one of our strengths,“ explains Judy Tossell,

adding that ”none of us work in isolation although we each work

as producers on separate films.“

While Tossell’s strength is with working with young German

filmmakers, Meurer has been more of a driving force for the

development of the company’s documentary strand and its international

activities, and Oliver Damian is more the nuts-andbolts

production man. ”The bigger a company becomes, the more

important something like controlling is,“ Tossell declares, ”so

Oliver is important to control the physical production of our projects.“

That’s not to say that he isn’t involved in hands-on production, as

he produced Nana Djordjadze’s 27 Missing Kisses with

Meurer and is now working with him on Djordjadze’s next

project, The Tears of Don Juan, as well as on another major

project in development, Shanghai Blues.


”You have what we are about in a nutshell when you look at our

projects this year,“ Tossell continues.

At the Berlinale in February, the Perspectives German Cinema sidebar

presented the coming-of-age feature debut Mutanten by

Katalin Goedroes and the highly acclaimed feature documentary

Queens of Dust (Der Glanz von Berlin, 2000) by

Judith Keil and Antje Kruska. Then, the official competition

section of this year’s Cannes Film Festival provided the backdrop

for the world premiere of Egoli Tossell Film (ETF)’s ambitious

international co-production Russian Ark by Alexander

Sokurov. And this autumn will see the release of the big-budget

German film Big Girls Don’t Cry by Maria von Heland,

which was financed by and produced for Deutsche Columbia

Pictures, the production arm of the German office of US major

Columbia TriStar.

One area that has been missing so far at Egoli Tossell is television.

Meurer admits that it is ”not an easy time to move into

this area,“ but argues that they ”stand for a certain kind of filmmaking

and we feel that there is room for a different kind of television

film.“ Currently in development is Fleeting Encounter

(Fluechtige Begegnung), a contemporary TV thriller penned

by Thomas Knauf, which is to be directed by Christian


”It is very hard to separate the strands,“ Tossell declares. ”Up

until now, I have been doing first-time German filmmakers, but we

are interested in working with them on their second and third

films and this could be in English – as is the case with Ed

Herzog’s Lively Up Yourself (cf. p. 29) which is set in

Jamaica and has a German star, Heike Makatsch.“


As Meurer points out, their experiences from working on international

productions such as 27 Missing Kisses and Russian

Ark can also be used to benefit the German projects. ”A

German film should ideally be international. It can be and should

be more so,“ he suggests. ”At the same time, even our international

projects, such as those in South Africa, were really made

from this German base. Russian Ark was prepared and finished

20 Kino 3/2002

Jens Meurer, Judy Tossell, Oliver Damian

Producers’ Portrait Egoli Tossell Film

here, so one of our conclusions is not to limit ourselves to one

label of either ”international company“ or ”German production

company“. We see ourselves as producers in Europe.“

Unlike most of their producer colleagues in Germany, ETF has

developed links with major international sales companies such as

Canal+, Wild Bunch and Celluloid Dreams ”because they

already have an international approach built into their operations,“

Meurer explains. ”Even before a film’s completion, this opens

more doors and greater possibilities than the more conventional

German model where you make the film and then see if anyone

wants to see the film outside of Germany.“

At the same time, this doesn’t mean to say that they have

completely turned their back on German sales companies: Judy

Tossell had a very positive experience with Bavaria Film

International, who put up part of the financing for Achim

von Borries’ feature debut England!, and the company’s

documentaries tend to be channeled through the Leipzig-based

sales agent d.net sales.


The company’s international outlook has been reinforced, meanwhile,

by the three board members’ participation in various

training programs organized by the European Union’s MEDIA

Program. Oliver Damian and Jens Meurer have been

through the EAVE producers’ training program, Judy Tossell

attended one of the first editions of the TV Business School, and

she and Jens Meurer are both graduates of the Ateliers du

Cinéma Européen (ACE) producers’ program.

”ACE is a fantastic networking experience,“ Tossell enthuses.

”We made a lot of friends, but also colleagues who one can work

with as they are a pretty like-minded bunch of producers.“ In fact,

ETF will be putting this into practice this autumn by having fellow

ACE producer Chris Curling of the UK production company

Zephyr Films onboard the Ed Herzog feature Lively Up

Yourself as co-producer.

”There is a great level of trust and a good exchange of information,“

Meurer adds. ”That kind of MEDIA support cannot be

overrated. Overall, we have benefited a lot over the last ten years

from MEDIA, but we all suffer from the overwhelming bureaucracy.

That’s a bit of a shame that the MEDIA Program is losing

the ”people aspect“ because wherever it exists – such as in EAVE

or ACE – it is a really great asset.“


While ETF has already made its mark this year with festival pre-

Kino 3/2002

sentations of such films as Queens of Dust and Russian

Ark, the slate of projects in production and development augurs

well for the company’s future.

One project coming to the end of its shoot now is the feature

documentary Hello Dachau! (Gruesse aus Dachau!) by

Bernd Fischer, which is a real-life tragi-comic portrait of

Germany’s ”most famous town for all the wrong reasons.“ As

Meurer points out, this is a very personal film for Fischer and

him, as they were both at school together in Dachau.

Meanwhile, a trailer has already been shot for Frank Mueller’s

Siberia: Railroad Through the Wilderness, the first

IMAX film about Siberia and the famous Trans-Siberian Railway,

and the financing looks to have come in place for them to embark

on the next stage of shooting in Siberia next spring, with Sir

Peter Ustinov in a starring role.

Before that, this autumn should see the company partnering with

FilmFour Lab and Atom Egoyan as a co-producer on a

feature project by Canadian director Alison Murray entitled

Mouth to Mouth. Based on a real-life experience Murray had

in Germany, the film will shoot in the UK, Germany and Portugal

in September and October.

2003 should see Nana Djordjadze embarking on her first

English-language picture – The Tears of Don Juan – a romantic

love story spanning three generations of a family in Georgia,

France and Spain, to be shot on location in Barcelona. And,

following the positive collaboration with Andrea Willson at

Deutsche Columbia Pictures on Big Girls Don’t Cry,

Tossell and director Maria von Heland are now developing

a thriller to produce with the US major’s production arm.

However, ETF’s ”hottest project,“ according to Meurer, is

Catherine, about the simple maid and battlefield whore who

became the wife of Peter the Great and Empress of Russia.

Award-winning Polish director Agnieszka Holland

(Washington Square, Europa, Europa, Julie Walking

Home, cf. p. 49) is in place to direct a script by 27 Missing

Kisses-screenwriter Irakli Kvirikadze.

”We have an interesting combination of Irakli’s very original,

bawdy and sexy style of writing with Holland’s record as a very

established and respected director,“ Tossell says. ”It is a passionate

love story rather than a conventional biopic, and there are

some fantastic roles for the cast. It really, really caught people’s

imagination when we were pitching it in Cannes.“

Martin Blaney spoke to Judy Tossell and Jens Meurer


Kino news



Cooperates with AFI Festival

The Festival of German Cinema in Los Angeles ”MADE IN

GERMANY“ will cooperate for the first time this year with

the internationally renowned AFI Festival in Los Angeles.

Running from 7 - 17 November 2002, the third edition of

”MADE IN GERMANY“ will present a contemporary

cross-section of German films as a special section under the

auspices of the festival.

After the success of the previous Festivals of German

Cinema in Los Angeles with audiences and representatives

of the film industry in Hollywood, the Export-Union of

German Cinema and the AFI’s directorate decided to

concentrate their forces and offer ”MADE IN GER-

MANY“ a platform of particular quality through its integration

into the festival. The special program, jointly compiled by

representatives of AFI and ”MADE IN GERMANY“, will

present feature and documentary films as well as a program of

short films. The lineup is expected to be complete by the

beginning of August.

”This joint event is another important step in giving US distributors

a better understanding of German cinema“, explains

Corina Danckwerts, the representative of the Export-

Union for the USA/West Coast. ”We are expecting

major synergies in the area of press and marketing and are

very excited about this new collaboration. AFI is an ideal

partner for us.“ Nancy Collet, director of programming for

AFI, is also enthusiastic about the partnership:”MADE IN

GERMANY and AFI simply suit each other fantastically.“

Hamburg’s Cinema Summer

Six films funded by the FilmFoerderung Hamburg are

currently being prepared and shot in Hamburg. The shooting

of Rolf Schuebel’s latest film, Blueprint (cf. p. 26),

starring Franka Potente and Sebastian Koch, is planned

to continue through August. The film, based on the novel

of the same name by Charlotte Kerner, is about the

world’s first cloned person. Max Faerberboeck’s new film

September, starring such well-known names as Heiner

Lauterbach, Sky Dumont and Joerg Schuettauf, is

based on five loosely connected stories of how the events of

11 September 2001 changed people’s lives in Germany.

Hamburg was also location for Stephen Manuel’s Der

letzte Lude and Pepe Planitzer’s Ein Schiff wird

kommen, with Hilmar Thate and Juergen Tarrach in

the main roles. And Jens Huckeriede is currently shooting

his documentary Gebrueder Wolf in Hamburg, while

Margarethe von Trotta is planning her upcoming film

Rosenstrasse, starring Maria Schrader and Katja

Riemann, in the city.

Higher Audience Figures and

Avid Distributor Interest at 4th

Festival of German Cinema in


Compared to last year, this year’s Festival of German

Cinema in Madrid (4 - 8 June 2002) registered significantly

higher audience figures with an increase of 13% in the number

of tickets sold.

The festival opened to a packed cinema and in the presence of

director Sandra Nettelbeck and lead actress Martina

Gedeck with Mostly Martha (Bella Martha), for

which Spanish distributors have already expressed considerable

interest. Ranking as the cinemagoers’ favorite during the

festival, the film also received the Audience Award.

At the screenings of the documentary Black Box BRD by

Andres Veiel and Do Fish Do It? (Fickende Fische)

by Almut Getto, which was able to attract the interest of

South American distributors, the audience took advantage of

the opportunity for animated discussions with the directors.

The film Love the Hard Way was also presented by

director Peter Sehr and screenwriter Marie Noëlle.

Also on hand to present their films were Bernhard

Bettermann, lead actor of As Far As My Feet Will

Carry Me (So weit die Fuesse Tragen), as well as

Wolf Gaudlitz (director) and Leoluca Orlando for his

appearance in Palermo Whispers (Palermo


Other films in the main program were The State I Am

In (Die Innere Sicherheit) by Christian Petzold,

Sass by Carlo Rola, and the children’s film The Slurb

(Das Sams) by Ben Verbong, which was enthusiastically

received by the young Spanish audience and aroused the

interest of Spanish distributors. Moreover, three of Ziegler

Film/Atlas International Film’s Erotic Tales were

shown in a midnight screening. The presentation of Fritz

Lang’s silent movie Woman in the Moon (Die Frau

im Mond) – with live musical accompaniment – was, as in

past years, one of the festival’s highlights.

The festival program also included this year’s Next

Generation 2002 short films. Following a visit by Dr.

Arthur Hofer (head of the Film Academy Baden-

Wuerttemberg) to the Escuela de Cine de Madrid

(ECAM), which included a discussion with the students, a

cooperation between the two films schools was arranged.

Kino 3/2002

Martina Gedeck, Sandra Nettelbeck

Scene from ”Divine Intervention“

RTL Joins Filmstiftung NRW

The private television broadcaster RTL has joined the Filmstiftung

NRW with an annual contribution of €3 million. In

addition to the public broadcasters WDR and ZDF and the

state of North Rhine-Westphalia, the Cologne-based private

broadcaster will become the Filmstiftung NRW’s fourth

associate, making for an annual funding budget of approximately

€30 million. ”I welcome RTL’s decision to join the

Filmstiftung and hope that we can also support RTL in their

film program,“ said Michael Schmid-Ospach about the

new partner.

Since its foundation in 1991, the Filmstiftung NRW has

supported 479 projects with €250 million in funding, with over

60% of the money going to feature films and about 20% in

support of television films. With its participation in international

co-productions, the Filmstiftung NRW enjoyed

its latest success in Cannes, where Elia Suleiman’s

competition film Divine Intervention won the Jury Award.

Violence, Fundamentalism

and Political Power

These are the central themes of the Pakistani-German co-production

Veru – a story that leads into the religious turbulence

of a shaken Pakistan in 1979. However, many hurdles had to

be overcome before this ambitious project could be completed.

Paromita Vohra and Sabiha Sumar, who also

directed the film, began working on the script in 1995.

Logistical and financial difficulties however lead to a halt in

the shooting in 2000. But with Claudia Tronnier’s (ZDF)

help, reliable partners were found at Les Films de

l’Observatoire and the German production company

Flying Moon Filmproduktion. In 2001, the Filmboard

Berlin-Brandenburg, Vidhi Films and the MFG

Baden-Wuerttemberg also contributed financial backing.

Then came the attack on the World Trade Center in

September 2001 and once again threatened to bring everything

to a stop. Finally, in May 2002 shooting was wrapped up

and Les Films du Losange took over the world sales

rights for Veru.

Kino 3/2002

Kino news

FilmFernsehFonds Bayern

Supports Festival Winners

This year’s Cannes Film Festival marked another great success

in the career of Roman Polanski: The acclaimed director

received the Palme d’Or for The Pianist. The deeply

moving drama, produced by Studio Babelsberg, R.P.

Productions, Heritage and Runteam, was supported,

among others, by FilmFernsehFonds (FFF) Bayern.

Main sequences of the film were shot in Germany, while

important parts of the post-production, including digital

processing, were taken over by Das Werk in Munich. The

Pianist stars Adrien Brody, who also played the leading

role in Peter Sehr’s FFF-funded success at Locarno 2001,

Love the Hard Way. Currently, Sehr is working on the

German-French co-production Birkenau and Rosenfeld

with Anouk Aimée in Poland and France. Another

Cannes-winner, Michael Haneke, is currently preparing,

with production support by FFF Bayern, the German-

Austrian-French co-production Le temps des loups

starring Isabelle Huppert.

FilmFernsehFonds Bayern’s

Website Relaunched

On the occasion of this year’s Munich Film Festival, the

FFF Bayern presented its newly relaunched website

www.fff-bayern.de. A fresh, clear design, user-friendly

service tools and news updates from the FFF’s film

information office make the website a complete offer for

everyone interested in film funding and the Bavarian film scene.

Based on feedback from its users, many of the service functions

have been improved to make applying for support even

easier: guidelines, deadlines dates and application forms can

be download separately. Support decisions, branch news, and

press releases can be found via a search function. Film

News Bayern is now also available in an online version on

the website, as well as a comprehensive set of links to various

companies and institutions of the Bavarian film industry.

Current news and projects in production are also accessible

from the website and will be updated on a regular basis.

The relaunch of the FFF website was designed by

browserganda.de, a company with a long list of media

and film references.


Kino news


Internationale Medienwoche


From the 12-18 September 2002, the Internationale

Medienwoche Berlin-Brandenburg is inviting participants

to an intensive exchange of views in the Berlin-

Brandenburg region. Once again, the two conferences –

Medienforum 2002 (from 12-13 September 2002 at the

mediacentre, Berlin) and Babelsberg 2002, International

Conference on Film and Television

Production (from 16-18 September 2002 at the fx.center,

Babelsberg) – offer representatives of the media industry the

opportunity to focus on the current situation and future tendencies

in media markets.

The initiators of the Medienwoche are the Medienanstalt

Berlin-Brandenburg, the Filmboard Berlin-

Brandenburg, Studio Babelsberg Motion Pictures,

the states of Berlin and Brandenburg, and the Medieninitiative

Babelsberg. As well as being the initiator of the

event, this year the Filmboard Berlin-Brandenburg will

also handle coordination and administration.

For further information please contact:

Filmboard Berlin-Brandenburg GmbH

August-Bebel-Strasse 26-53

14482 Potsdam/Germany

email: info@medienwoche.info


Ten German Films

in Jerusalem

A total of ten German films and German-international coproductions

were shown at this year’s Jerusalem International

Film Festival (18-27 July 2002).

Sven Taddicken’s Getting My Brother Laid

(Mein Bruder der Vampir) and Fosco and

Donatello Dubini’s German-international co-production

The Journey to Kafiristan (Die Reise nach

Kafiristan) were presented in the Panorama section of

the festival.

The Documentaries section hosted three German films and

one co-production: Absolut Warhola by Stanislaw

Mucha, Black Box BRD by Andres Veiel, Warrior

of Light (Kriegerin des Lichts) by Monika Treut,

as well as Bellaria – As Long As We Live (Bellaria –

so lange wir leben), a German-Austrian co-production

by Douglas Wolfsperger.

The Jewish Experience section presented Caroline Link’s

Nowhere in Africa (Nirgendwo in Afrika) – which

recently won the FIPRESCI Award and the Special Jury Prize at

Karlovy Vary – and Jeanine Meerapfel’s Anna’s

Summer (Annas Sommer), while the Shorts section

included Matthias Mueller’s Phantom and Jan

Schuette’s Old Love.

Short Tiger 2002: Main Awards

Go to Munich and Berlin

The Filmfoerderungsanstalt

(FFA) awarded the short film

prize Short Tiger to seven upand-coming

film school student


directors. Of the seven nominated

films, the jury selected At the

Tiger 2002

Lake (Am See) by Ulrike

von Ribbeck from the German

Film & Television Academy (dffb) in Berlin, and Bjoern –

The Hurdles of Bureaucracy (Bjoern oder die

Huerden der Behoerden) by Andi Niessner from

the Academy of Television & Film (HFF/M) in Munich as the

first place winners, both receiving €25,000 each in prize

money. Promotion prizes of €15,000 went to Vera

Lalyko for Window with a View (Fenster mit

Aussicht), Peter Boesenberg for Twilight Mood

(Abendstimmung), Ingo Rasper for Dufte, Tom

Uhlenbruck for Last Tram (Letzte Bahn) and

Gudrun Falke for When It Rains (Wenn es


FFA-president Rolf Baehr called the unusually high Short

Tiger endowment of €125,000, plus the annual automatic

short film funding of over €500,000, proof that the FFA is

taking its support of newcomer talent seriously. A total of six

German film academies submitted 22 shorts (including three

animation films) for this year’s third annual Short Tiger


Kino 3/2002

Winners of the Short Tiger 2002

Mitteldeutsche Medienfoerderung

Supports LUTHER

Directed by Canadian Eric Till, Luther – the feature film

epic about Martin Luther – was produced by Berlin-based

Neue Filmproduktion (NFP), in collaboration with

AAL/LB (Aid Association for Lutherans/Lutheran

Brotherhood) and Degeto Film in Frankfurt. With

Joseph Fiennes in the lead role, other parts were casted

with top German and international stars, inlcluding: Sir

Peter Ustinov (Frederick the Wise), Bruno Ganz

(Johann von Staupitz), Alfred Molina (Johann Tetzel), and

Mathieu Carrière (Cardinal Cajetan). Luther was shot

between mid-April and the beginning of July at various locations

in Central Germany, Bavaria, Italy and the Czech

Republic. Delivery of the film is planned for February 2003,

with a German theatrical release set for autumn 2003. The

Mitteldeutsche Medienfoerderung (MDM) supported

the production with €766,940.

Further international co-productions going into production

this year with support from MDM are the road movie

Honey Baby, directed by the Finnish filmmaker Mika

Kino 3/2002

Joseph Fiennes in ”Luther“

(photo © Rolf von der Heyd 2002)

Kino news

Kaurismaeki, and the latest project by Peter

Greenaway, The Tulse Luper Suitcases – a multimedia

event with international stars like Franka Potente,

Isabella Rosselini, Don Johnson and Liam Neeson.

The German-Finnish-Lithuanian co-production Honey

Baby will bring Kaurismaeki to Halle, where he set up

the production company Stamina Media GmbH together

with Ulrich Meyszies.


Befreite Zone

Original Title Befreite Zone English Title Liberated Zone

Type of Project Feature Film Cinema Genre Satire

Production Companies Oe Filmproduktion, Berlin, JUNI-

FILM, Potsdam/Berlin, in cooperation with ORB, Potsdam, ZDF,

Mainz With backing from Filmboard Berlin-Brandenburg

Producers Frank Loeprich, Katrin Schloesser, Niklas Baeumer,

Anke Hartwig, Jan Philip Lange Director Norbert Baumgarten

Screenplay Norbert Baumgarten Director of Photography

Christine A. Maier Editor Juergen Winkelblech

Music by Juergen Ehle Principal Cast Johanna Klante, Florian

Lukas, Axel Prahl, Daniela Hoffmann, Michael Ojake Format

Super 16 mm, Blow-up to 35 mm, color, 1:1.85, 90 min

Shooting Language German Shooting in Berlin and

Brandenburg, April-June 2002


Oe Filmproduktion GmbH

Frank Loeprich, Katrin Schloesser

Langhansstrasse 86 · 13086 Berlin/Germany

phone +49-30-4 46 72 60 · fax +49-30-44 67 26 26

email: mail@oefilm.de

The eyes of the nation, and those of its football fans, are fixed on

Saesslen, a small town in eastern Germany. The local club has

made it through to the League Cup final and now only a certain

bunch of Bavarians stands between them and triumph. Yes, it’s the

mid-1990s and good times are-a-comin’ to the former East


Sylvia and Michael are a young couple. Both want children, at least

one car, and a large house with all modern conveniences. They

work at the construction company owned by his father, Otto, and

spend a great deal of time telling the other how much (s)he loves


But Sylvia is cheating on him with Ade Banjo (the club’s star player,

nicknamed Blondi for his dyed hair). And Michael’s got a thing

going with Kerstin, Sylvia’s best friend since kindergarten, who is

actually in love with him.

Ade is married to Heidi, a west German who refused to move

east when he joined the team. No wonder he was open to Sylvia’s

charms. Except now that Heidi has decided to join him after all –

things can only get more complicated. And Kerstin has also taken

up with Sven, now that the relationship with Michael has proven


Florian Lukas, Johanna Klante

(photo © 2002 Oe Film GmbH/JUNIFILM GmbH)

to be too much for him. Unfortunately, Michael can’t hide his

jealousy, much to Kerstin’s pleasure.

Otto (Michael’s father) is married to Inge. He owns Saesslen’s

largest construction company and is chairman of the football club.

His tenacity has laid the foundation for the town’s sporting and

economic boom. That, and his creative accounting. Especially his

creative accounting. He’s headed for trouble. But as all hopes and

dreams come to nothing, and the economic boom fails to materialize,

there’s no need to panic. As with all good stories, a surprise

ending means hope springs eternal.

Liberated Zone is writer-director Norbert Baumgarten’s

first feature and his graduation film from the ”Konrad Wolf“

Academy for Film & Television in Potsdam-Babelsberg, while Oe

Filmproduktion’s Katrin Schloesser and Frank

Loeprich, also Potsdam-Babelsberg graduates, are old hands at

the game. Among their many credits are Andreas Kleinert’s

Cannes Quinzaine opener Paths in the Night (Wege in die

Nacht, 1999) and co-production on Leander Haussman’s

Sun Alley (Sonnenallee, 1999), which took Silver at the

German Film Awards in 2000.

JUNIFILM was founded by Niklas Baeumer, Anke

Hartwig and Jan Philip Lange early this year with the purpose,

says Lange, ”of working with young, innovative, authors

and directors to create exciting stories for cinema and television.“


Original Title Blueprint Type of Project Feature Film

Cinema Genre Drama Production Company Relevant Film

Produktionsgesellschaft, Hamburg, in co-production with Studio

Hamburg Produktion fuer Film und Fernsehen, Hamburg, WDR,

Cologne, ARTE, Strasbourg With backing from Filmfoerderungsanstalt

(FFA), Filmstiftung NRW, FilmFoerderung

Hamburg, MEDIA Plus Program Producer Heike Wiehle-Timm

Director Rolf Schuebel Screenplay Claus C. Fischer

Director of Photography Holly Fink Editor Ursula Hoef

Music by Detlef Petersen Principal Cast Franka Potente,

Ulrich Thomsen, Hilmir Snaer Gudnason, Justus von Dohnànyi,

Wanja Mues, Katja Studt Format 35 mm, color, 1:1.85, 100 min

Shooting Language German Shooting in Muenster,

Hamburg, Vancouver and Vancouver Island/Canada, June-

September 2002 German Distributor ottfilm GmbH, Berlin

World Sales:

Cinepool - A Dept. of Telepool Europaeisches


Dr. Cathy Rohnke, Wolfram Skowronnek

Sonnenstrasse 21 · 80331 Munich/Germany

phone +49-89-55 87 60 · fax +49-89-55 87 62 29

email: cinepool@telepool.de · www.telepool.de

Franka Potente, fresh from her latest blockbuster Hollywood

triumph alongside Matt Damon in The Bourne Identity,

returns to her native roots. This time, the star of the German

break-out hit, Run Lola Run (Lola rennt, 1998), has taken

up the challenge of a double role in a drama about a totally new

conflict: Blueprint.

Based on the novel by Charlotte Kerner, Claus Fischer’s

adaptation tells the story of the world-famous concert pianist, Iris

Kino 3/2002


Franka Potente, Rolf Schuebel (photo © Bernd Spauke/Relevant Film)

Sellin (played by Franka Potente). When she is diagnosed as

suffering from multiple sclerosis, an incurable and fatal disease of

the nervous system, the immensely talented, proud and egoistic

diva enlists the services of geneticist, Dr. Mortimer Fisher. Iris’ plan

is simple: She has herself illegally cloned so her talent will live on

after her death.

But as the world’s first fully-cloned human being, daughter Siri

(also played by Franka Potente) finds the burden too much to

bear. The result is personal and professional meltdown as Siri

rebels against the life and career Iris has planned for her, subsequently

fleeing to the depths of the Canadian forests in a desperate

search to discover the answers to the questions of not

only ”Who am I?“ but ”What am I?“

Since the birth of the celebrated cloned sheep Dolly, in 1998, perceptions

of the natural formation and passing of life have changed

drastically. The cloning of human beings was an untouchable

taboo. For medical experts, the question is no longer one of ”if“,

but ”when“. The clone would be the first genuine designer baby, a

manufactured human being. Not a unique person, he would live

according to the formula ”I am you“. What would it mean to be a

copy and not an original? How would this person feel and from

where would they take their identity? Does a clone have a soul?

Director Rolf Schuebel, whose many awards include the 2000

Bavarian Film Award (Best Director, Best Camera) for Gloomy

Sunday (1999) and the Golden Panda for Best Film (Walerjan

Wróbel’s Homesickness/Das Heimweh des Walerjan

Wróbel, 1992) at the 1993 China Sichuan Television Festival, is

equally at home working on the small as well as the big screen.

In the case of Blueprint, ”the story is dramatic in the extreme,

intelligent, moving and at the same time extremely unusual. It

could only be a clone who could provide us with a framework in

which the mother/daughter conflict can be played out one hundred

percent, and which can relate it in terms so strong and so

radical as never before.“


Dirty Sky

Original Title Dirty Sky Type of Project Feature Film

Cinema Genre Action, Adventure, Love Story Production

Company Carpe Diem Film & TV Produktion, Saarbruecken

With backing from Filmstiftung NRW, Filmfoerderung

Saarland, Luxemburg Film Fund Producers Barbara

Wackernagel-Jacobs, Claude-Oliver Rudolph Director Andy

Bausch Screenplay Claude-Oliver Rudolph Director of

Photography Frank Grunert Music by Soehne Mannheims,

Kino 3/2002

Nikolai Kinski, Cosma Shiva Hagen

in production

5 Sterne Deluxe Principal Cast Nikolai Kinski, Cosma Shiva

Hagen, Claude-Oliver Rudolph, Torsten Muenchow, Sabine von

Maydell, Volker Spengler, Katy Karrenbauer, Martin Semmelrogge,

Ralf Richter, Frank Giering Format 35 mm, color Shooting

Language German Shooting in Bochum, Luxemburg, Paris

and Saarbruecken in summer 2002


Carpe diem Film & TV Produktions GmbH

Barbara Wackernagel-Jacobs

Saargemuender Strasse 149

66119 Saarbruecken/Germany

phone +49-6 81-9 85 19 00 · fax +49-6 81-9 85 19 02

email: carpe.diem.tv@t-online.de

Production is set to crank up this summer on Andy Bausch’s

road movie Dirty Sky, whose title is a reference to a lyric in an

Iggy Pop song (”Over us a dirty sky full of fuels and liquors, a little

girl, a little guy…“).

Penned by actor Claude-Oliver Rudolph, who was once billed

as ”Europe’s baddest baddie“ (by the newspaper Bild am

Sonntag) and has such films as The Boat and James Bond:

The World is Not Enough among his acting credits, Dirty

Sky follows Paule (played by legendary German actor Klaus

Kinski’s son Nikolai Kinski) and Jenny (played by Nina

Hagen’s daughter Cosma Shiva Hagen) on the run from

prison and the police through the Ruhr region, Bavaria, and

Luxemburg to the goal of their amour fou: Paris.

As the filmmakers explain, ”Dirty Sky tells a bad fairytale from

our times with a double ending: firstly, the eternally classic love

story of Romeo and Juliet in the trappings of Bonnie and Clyde as

a bloody road movie. And, secondly, with a romantic-fantastic

ending“. Also regarded as a coming-of-age tale, Dirty Sky will

be shot at some of the most attractive locations throughout

Europe: at Schloss Hohenschwanstein in Bavaria, Château de

Clairvaux in Luxemburg, and Montmartre, the Arc de Triomphe

and the Eiffel Tower in Paris.

With director Andy Bausch (Le Club des Chômeurs) and

cinematographer Frank Grunert (Junimond - cf. p. 50 - and

Deutschfieber) onboard, Dirty Sky will visually reproduce a

film noir style and atmosphere and borrow from the provocative

and radical aesthetic of music videos.

Apart from Kinski, Hagen and Rudolph (who will be juggling

the hats of screenwriter, creative producer and a role as a ”bad

cop“), the cast of Dirty Sky includes a number of ”bad guy“

actors such as Torsten Muenchow (Schimanski), Martin

Semmelrogge (Bang Boom Bang), Ralf Richter (Was

nicht passt, wird passend gemacht) as well as Volker

Spengler (The Ogre) and Frank Giering (Baader).




Original Title Gone Type of Project Feature Film Cinema

Genre Drama Production Company Haifisch Entertainment,

Munich, 13th Street/Universal Studios Deutschland, Munich

With backing from BIA-Bremen, FilmFernsehFonds Bayern

Producers Zoltan Paul, Sven Kiesche, Michel Morales

Director Zoltan Paul Screenplay Zoltan Paul Director of

Photography Sven Kiesche Editor Anthony Lew Shun

Music by Johannes Enders, Tied + Tickled Trio, The Notwist

Principal Cast Adele Neuhauser, Christof Gareisen, Robert

Giggenbach, Detlef Bothe Format 24 P HD, Blow-up to 35 mm,

1:1.85, color, 90 min Shooting Language German

Shooting in Polling and Bremen, June - July 2002

German Distributor ottfilm GmbH, Berlin


Haifisch Entertainment GmbH · Zoltan Paul

Bahnhofstrasse 50 · 82398 Polling/Germany

phone +49-8 81-6 12 44 · fax +49-8 81-9 23 28 62

mobile +49-1 70-3 58 19 80

email: ZoltanPaul@aol.com, gonederfilm@aol.com


Imagine two people, a man and a woman, standing and looking

out of the window of their idyllic house in an idyllic Bavarian village.

It is the depth of night and they are watching a mysterious

stranger in their garden. A mysterious stranger with a shovel in his

hands and who is digging his own grave. The wife knows who the

man is but has concealed from her husband the fact of their passionate

relationship. When the stranger then proceeds to blow his

own brains out, the couple fulfill his last wish and bury him.

So begins Gone, writer-director Zoltan Paul’s psychodrama, a

surreal game of love, life and death, fiction and reality.

Then, in flashbacks, we learn the story of the deceased, an author

who is suffering from writer’s block and has subsequently turned

his back on the world, and how he meets a suicidal and psychotic

publisher whom he turns into the main character of his latest

novel. Events in real life and the novel interact and parallel each

other, giving rise to a fatally passionate relationship which ends in

the lethal consequences as seen at the beginning of the film.


Scene from ”Gone“

”The story of Alma the publisher, David the author and Henry,

her husband,“ says Paul, ”takes place on that seam where fiction

and reality meet. This is reflected in the visual narrative which is

depicted as a state of fragile, dream-like, confusion. The camera

follows the protagonists voyeuristically while long takes are broken

by sequences of fast cuts. The film’s aura is that of magical realism

while the predominant colors are blue, red and black. The lighting

is intended to counterpoint the dramatic narrative and have a

staccato effect, rather than illuminating the entire scene. Gone’s

visual design and music, in this case surreal notes and tones, support

the vibrating, melancholy, phantasmagoria with perspectives

intended to challenge and irritate."

Among Zoltan Paul’s previous directorial credits are the play

Salieri’s Mozart (1991) and the rock opera, Rausch (loosely based

on Goldini’s The Liar). His film scripts include the thriller Leiningers

Rache (Leininger’s Revenge), the comedy Erwin & Maria, and several

episodes of the popular ZDF TV crime series, SOKO 5113.


Kebab Connection

Original Title Kebab Connection Type of Project Feature

Film Cinema Genre Comedy Production Companies

WUESTE Filmproduktion, Hamburg, WUESTE Film West,

Cologne With backing from FilmFoerderung Hamburg

Producers Ralph Schwingel, Stefan Schubert, Hejo Emons

Director Anno Saul Screenplay Fatih Akin, Ruth Toma

Editor Tobias Haas Principal Cast Denis Moschitto, Tayfun

Bademsoy, Adnan Maral, Misel Maticevic, Hilmi Soezer, Lisa Maria

Potthoff Format 35 mm, 1:1.85, color, 90 min Shooting

Language German Shooting in Hamburg in August and

September 2002 German Distributor ottfilm GmbH, Berlin


WUESTE Filmproduktion · Ralph Schwingel

Schulterblatt 58 · 20357 Hamburg/Germany

phone +49-40-4 31 70 60 · fax +49-40-4 30 00 12

email: wueste@wuestefilm.de · www.wuestefilm.de

Unique culinary delight or gastrointestinal grief, made from the

choicest of meats and spices or unidentifiable road-kill and the

contents of a chemical works, whatever you think of them, and

however you take yours (with or without salad, yogurt and chili

sauce, but hopefully like a man!), it’s about time the Doner Kebab

got its big screen break. And that time has now come!

Kebab Connection is a crazily comedic tale of two fast food

stands (one Turkish, the other Greek), a frustrated filmmaker, the

coolest commercial of all time, intercultural love, forbidden

romance and centuries-old Aegean rivalry. And we mustn’t forget

the local mafia, either!

Producers WUESTE Filmproduktion have once again

cooked up all the ingredients for one very tasty comedy.

The company, founded in 1989 by Ralph Schwingel and

Stefan Schubert, specializes in theatrical feature films and has

a fifty percent stake in the documentary production company,


Schwingel, who concentrates on project development and

international co-production, and Schubert (”I do all the other

stuff, too!“), also place a great deal of store in the discovery and

development of new talent.

Kino 3/2002

Co-author Fatih Akin is no newcomer to successful film

making, having written and directed the big city drama, Short

Sharp Shock (Kurz und Schmerzlos, 1999) which, among

its many nominations and awards, took home the Adolf Grimme

Award in 2001, and the road-trip-to-find-true-love film, In July

(Im Juli, 2000), which took away trophies including the Audience

Awards at Viareggio/Italy and Tromsø/Norway.

Last year saw the Munich Filmfest premiere of Anam, Buket

Alakus’ debut film, which took first prize, the Camel Active

Independence Award for Genuine Filmmaking, last September in

Oldenburg. In November 2001, it gained the Audience Award in

Braunschweig, then came the European Broadcasting Union’s

Geneva Europe Grand Prize 2001 for Best Script, and this year it

won the Otto-Sprenger Award.

As for WUESTE Filmproduktion’s many other achievements,

where there’s a festival, you are likely to find one of their

films. And it’s likely to have walked off with either a nomination or

an award, too!


Lively Up


Original Title Lively Up Yourself Type of Project Feature

Film Cinema Genre Drama Production Company Egoli

Tossell Film, Berlin, in co-production with Zephyr Films, London

With backing from Filmfoerderungsanstalt (FFA), Filmboard

Berlin-Brandenburg, MEDIA Producer Judy Tossell Director

Ed Herzog Screenplay Ed Herzog, Jessica Townsend

Director of Photography Sebastian Edschmid Principal

Cast Heike Makatsch Format 35 mm, color, Dolby SR

Shooting Language English Shooting in Berlin and Jamaica

in October and November 2002


Egoli Tossell Film AG · Judy Tossell

Burgstrasse 27 · 10178 Berlin/Germany

phone +49-30-24 65 65 0 · fax +49-30-24 65 65 24

email: contact@EgoliTossell.com


Kino 3/2002

Anno Saul (photo © Hilde Zemann)

Ed Herzog in


”As soon as I heard the idea, I wanted to get involved in it“

says producer Judy Tossell about Ed Herzog’s new

feature Lively Up Yourself. ”I love these feel-good kind

of movies and I believe it absolutely has commercial potential

as well.“

A graduate of the German Film & Television Academy in Berlin

(dffb) where he made the prize-winning short Ku’damm

Security (1998), Herzog came to Tossell three years ago

with the project already at script stage.

The film’s plot centers on a provincial Country & Western singer

in denial about her cancer (played by Heike Makatsch) who

decides to go to Nashville to fulfill her dream of singing at the

Bluebird Café. But she gets on the wrong plane and ends up in

Jamaica where one mishap follows another. She has everything

stolen and is faced with singing Country & Western ballads to

earn her passage off the island.

”This film is an ideal example of what we like doing as a

company,“ explains Egoli Tossell Film’s co-founder Jens

Meurer. ”A German-based idea, a German director, German

script, a German lead actress, and a German production company

– but at the same time it can be something that will cross-over


”When we had Heike Makatsch onboard, that boosted

the raising of the finances,“ Tossell recalls. ”She not only has

box-office appeal in Germany, but is also a name in the UK

and beyond, thanks to films like Late Night Shopping and

Resident Evil.“ Co-producer Chris Curling of the UK

production company Zephyr Films was brought onboard

after they met at one of the sessions of the European producers’

training program Ateliers du Cinéma Européen (ACE).

As Tossell points out, there is ”a certain logic in having a UK

co-producer for a film shot in Jamaica, as we will need to cast

most of the Jamaicans out of the UK and work on the island

counts for a British film.“



Moby Dick:

Die Legende

kehrt zurueck

Original Title Moby Dick: Die Legende kehrt zurueck

English Title Moby Dick: The Legend Returns Type of

Project Feature Film Cinema Genre Animation Production

Company Trixter Film GmbH, Munich, in co-production with

Terraglyph Productions, Dublin, Happy Life Animation, Stockholm

With backing from FilmFernsehFonds Bayern, Irish Film

Board Producers Michael Coldewey, Gerry Shirren, Peter

Gustafsson Director Michael Coldewey Screenplay Marcus

Fleming, based on Moby Dick II or the Missile Whale by Patricia

Highsmith Director of Animation Juergen Richter Voices

include Juergen Prochnow Shooting Language English

Shooting at animation studios in Germany, Ireland and Sweden,

from 2002 until early 2004


Trixter Film GmbH

Melanie Tauchmann, Sales & Acquisitions

Oberfoehringerstrasse 186 · 81925 Munich/Germany

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

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

The world’s fascination with Moby Dick has been constant since

its creation by Herman Melville in 1850, but Trixter Film’s

retelling of this tale is based on Patricia Highsmith’s novella Moby

Dick or The Missile Whale.

The story here follows the odyssey of the fiercely independent

and talented young pilot Frances and a young Inuk named Anuk

on the trail of the legendary whale. After a bank has seized her

treasured biplane, Frances soon finds out that it is to be used as a

spotter plane on ”The Dominator“ which is setting out on an

expedition to find Moby Dick. But the shaman of Anuk’s

tribe has had a terrible vision: someone wants to kill the great

white whale. Although he detests white men’s killing machines,

Anuk signs up for the ship’s crew, determined to protect Moby

Dick from all harm …

”Patricia Highsmith gave us the possibilities and inspiration to

experience Herman Melville’s original story in a different way,“

declares producer-director Michael Coldewey. ”The heavy

darkness of the original is loosened up by the new perspective.

The target group is quite clearly the family.“


Scene from ”Moby Dick: The Legend Returns“

Structured as a German-Irish-Swedish co-production, the

ambitious project will see Trixter working with Ireland’s

Terraglyph (also co-producers on Help, I’m A Fish!/

Hilfe, ich bin ein Fisch!, 2000) and Sweden’s Happy Life

Animation, who will do part of their workload out of their

Berlin studios.

While computers will be used to generate the whale, the water

effects and backgrounds, Coldewey will rely on the traditional

form of hand-drawn animation for the human figures.

”With Spirit and Lilo & Stitch, people have said that animation

is dead,“ Coldewey declares, “but we don’t want our

human characters to look like something from Final Fantasy.

The classical way evokes more emotion.“

In addition, Trixter wants the animation on Moby Dick to all

be done in Europe. ”I want the acting of the characters to correspond

to our European mentality,“ Coldewey explains. ”You

can’t have a Norwegian captain animated by a Korean because

animators always copy themselves.“


Die Nacht

singt ihre Lieder

Original Title Die Nacht singt ihre Lieder English Title

Night’s Song Type of Project Feature Film Cinema

Genre Drama, Love Story Production Company Pantera

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

With backing from FilmFernsehFonds Bayern (script funding),

BKM Producer Romuald Karmakar Director Romuald

Karmakar Screenplay Romuald Karmakar, Marin Rosefeldt,

based on the play of the same name by Jon Fosse Director of

Photography Fred Schuler Cast Manfred Zapatka, Rosel

Zech, Judith Engel, Dieter Landuris, Juergen Vogel Production

Design Heidi Luedi Format 35 mm, color, 1:1.85, 90 min,

Dolby SR Shooting Language German Shooting in Berlin

in late 2002 or early 2003 German Distributor Prokino

Filmverleih GmbH, Munich


Pantera Film GmbH

Uhlandstrasse 160 · 10719 Berlin/Germany

phone +49-30-88 62 76 77 · fax +49-30-88 62 76 78

email: panterafilm@freenet.de

It’s been a difficult birth, but production could crank up soon on

Romuald Karmakar’s screen version of award-winning Norwegian

novelist-playwright Jon Fosse’s play Natta syng sine songar

(Die Nacht singt ihre Lieder).

Thanks to a tip from actress Bibiana Beglau, the director of

Silver Leopard-winner Manila saw Falk Richter’s staging at

Berlin’s Schaubuehne theater in a touring production by Zurich’s

Schauspielhaus, and the seed for the new film project was sown.

”I thought this story would be ideal for a small film with a few

actors – there are only five characters – at one location,“

Karmakar recalls. ”It is a contemporary piece which could take

place in Berlin without having Berlin in the foreground as the subject.

We have a young married couple who have nothing more to

say to each other and yet talk uninterruptedly; their parents come

to visit and finally the woman’s lover, it all ending tragically.“

Kino 3/2002

Initially, it had been planned to shoot in early 2002 with a budget

of around €1.5 million and the Munich-based outfit Naked Eye

co-producing with his own company Pantera Film.

But, apart from script funding from FilmFernsehFonds

Bayern and interest from distributor Prokino, raising the financing

for the project proved so difficult that Karmakar put it on

the back burner this spring.

”For many, the film looked like it would be too depressive and

extreme,“ declares Karmakar who makes no bones about his

frustration that ”evidently the people who make Tatorts (”Scene of

the Crime“-series) are also the ones who decide what gets made in

German cinema.“

However, an article in the Frankfurter Allgemeine Zeitung on the

project’s odyssey through the subsidy boards and the winning of

an Adolf Grimme Award by Karmakar and Manfred Zapatka

for their collaboration on The Himmler Projekt re-awakened

interest in the project. Commissioning editors at ARTE and

ZDF expressed interest and production support was granted by

the Federal Government Commissioner for Cultural Affairs and

the Media (BKM).



und Jenseits –

Goff in der

Wueste /



Original Title Photographie und Jenseits - Goff in der Wueste/

D’Annunzios Hoehle English Title Photography and Beyond

Type of Project Documentary Production Company

Filmgalerie 451 Filmproduktion, Stuttgart, in association with

WDR, Cologne With backing from MFG Baden-Wuerttemberg

Producer Irene von Alberti Director Heinz Emigholz

Screenplay Heinz Emigholz Directors of Photography

Heinz Emigholz, Elfi Mikesch Editor Heinz Emigholz Format

35 mm, color, Dolby SR Shooting Language English

Shooting in USA and Italy from April - June 2002

Kino 3/2002

Romuald Karmakar, Manfred Zapatka

Scene from ”Goff in der Wueste“ (photo © Filmgalerie 451)

in production


Filmgalerie 451 Filmproduktion OHG

Irene von Alberti

Kegelenstrasse 3-5 · 70372 Stuttgart/Germany

phone +49-7 11-55 88 63 · fax +49-7 11-55 88 64

email: info@filmgalerie451.de


Shooting was completed in June on the latest two episodes of

Heinz Emigholz’s ambitious 25-part film series project

Photography and Beyond which was launched in 1984 with

the film The Basis of Make-Up.

The series about art and design focuses on ”projections“ that

become visible as writings, drawings, photography, architecture

and sculpture. Emigholz develops something indescribable from

the writings, drawings and the studies of the works of various

architects: an expression in film of the objectification of mental


In his words, ”a reverse visual process is analyzed here: sight as an

expression, not an impression. The eye as the interface between

the brain and the outside world, the view as a compositional

power that projects an idea or comprehends it by means of


The two new films D’Annunzios Hoehle and Goff in der

Wueste – episodes 7 and 12 respectively – are a two-parter

covering the debate between ”good“ and ”bad“ design. The stylistically

formative ”alternative“ constructions of the American

architect Bruce Goff are presented in contrast to the efforts at

interior design by Gabriele d’Annunzio as the pioneer of poweroriented

”lifestyle“ movements.

Goff in der Wueste was shot during April and May at locations

between Los Angeles and Chicago, charting the work of the

important 20th century forerunner of today’s New Modernism,

while Emigholz and his team went to Gardone in Italy in June to

make the film about Gabriele d’Annunzio.

An insight into Emigholz’s method of filmmaking can be obtained

by clicking onto the website of the films’ production company

Filmgalerie 451 – www.filmgalerie451.de – which features

an ”online diary“ accompanying the shoot of Goff in der

Wueste with a Quicktime movie of around one minute for each

day. In all, there are 50 informative and entertaining ”featurettes“

providing a virtual ”making of“ of the trip across the USA on the

trail of Bruce Goff.

Future episodes of Photography and Beyond will explore,

for example, the work of such architects as Pier Luigi Nervi, Luis

Barragan and Rudolph Schindler. Information about parts I and II

of the series can found on the Export-Union’s website under





Original Title Soloalbum Type of Project Feature Film

Cinema Genre Comedy Production Companies Goldkind

Film, Munich, Clasart Film- und Fernsehproduktion, Munich,

Odeon Film, Munich With backing from Filmfoerderungsanstalt

(FFA), FilmFernsehFonds Bayern, Filmboard Berlin-

Brandenburg Producer Christoph Mueller Director Gregor

Schnitzler Screenplay Jens-Frederik Otto, Christian Zuebert

Director of Photography Gero Steffen Editor Hansjoerg

Weissbrich Principal Cast Mathias Schweighoefer, Nora

Tschirner, Oliver Wnuk, Martin Reinhold Format 35 mm, color,

1:1.85, 90 min Shooting Language German Shooting in

Berlin, July-August 2002 German Distributor Concorde

Filmverleih GmbH, Munich


GOLDKIND FILM · Moritz Hemminger

Wiltrudenstrasse 5 · 80805 Munich/Germany

phone +49-89-3 60 49 24 · fax +49-89-36 04 91 30

Love hurts and relationships can really suck – it’s the stuff real

comedies are made of, as long as it’s happening to someone else!

Based on Benjamin von Stuckrad-Barre’s best-selling

novel (more than 300,000 copies sold) of the same title,

Soloalbum tells the classic story we can all relate to: being

dumped by the girlfriend!

For Ben, 24-years-old and too cool to be true, the bitter blow

comes on New Year’s Eve when Katharina, his main squeeze for

the last three years, sends him the bad news via text message on

his mobile phone. At which point he realizes he loves her, truly.

Suddenly, Ben is prepared to do anything and everything to win

her back. And, at the same time, anything and everything to forget


Few modern German authors have their fingers on the young

pulse of society like Benjamin von Stuckrad-Barre. The

former gag-writer for the German national talk show host Harald

Schmidt and columnist for Stern magazine and Rolling Stone has

even had his own show on MTV.

And behind the camera is a virtual who’s who of successful popular

young German filmmakers.

Soloalbum’s script is by Jens-Frederik Otto, whose credits

include Detlev Buck’s prison-set comedy, Love Your

Neighbor (Liebe deine Naechste!, 1998), and Christian

Zuebert, whose most recent film was the stoner comedy,

Lammbock. Before that, Zuebert penned the hugely popular

girls-in-search-of-first-orgasm comedy, Girls On Top

(Maedchen Maedchen, 2001).


Gregor Schnitzler

Christoph Mueller’s executive producer credits couldn’t be

finer. Among the posters decorating his office are Ants in the

Pants (Harte Jungs, 2000) – puberty can be a bitch! – and,

most recently, the latest Erkan & Stefan sequel (cf. p. 44).

This last film features the continuing (mis)adventures of the two

loveable losers in which their search for well-endowed and willing

young women sees them fighting the powers of darkness, an

ancient curse and an evil sect. Getting laid was never so difficult or


Director Gregor Schnitzler’s other films include What To

Do In Case of Fire? (Was tun, wenn’s brennt, 2001),

the Til Schweiger action-comedy in which the past catches up

with a group of former left-wing radicals, and Finnlandia (2000).

As suits the material, Soloalbum’s cast includes such fresh faces

as Mathias Schweighoefer (from the teenage love story,

Heart Over Head/Herz im Kopf, 2001), Nora

Tschirner (a regular face on MTV) and Oliver Wnuk, who

starred in the most successful German film of all time – over

eleven million admissions – Michael ”Bully“ Herbig’s Wild

West satire, Manitou’s Shoe (Der Schuh des Manitu,


Soloalbum looks set to play to packed houses.

Trenck – Zwei

Herzen gegen

die Krone

Original Title Trenck – Zwei Herzen gegen die Krone

Type of Project two-part TV Movie Genre Action/

Adventure Production Company Bavaria Film, Munich

With backing from Mitteldeutsche Medienfoerderung,

FilmFernsehFonds Bayern Producer Stephan Bechtle Director

Gernot Roll Screenplay Walter Kaerger Director of

Photography Gernot Roll Editor Norbert Herzner

Music by Hans P. Stroer Principal Cast Ben Becker, August

Zirner, Alexandra Maria Lara, Hannes Jaenicke, Henriette Richter-

Roehl, Matthias Habich Format 35 mm, 1:1.85, color, 2 x 90 min

Shooting Language German Shooting in the Czech

Republic, Moravia, Koenigstein, Heidecksburg, Naumburg, May-

August 2002


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

It has been thirty years since Bavaria Film’s adventures of

Friedrich Freiherr von der Trenck last thrilled and enthralled a

German television audience. Now, this eighteenth–century tale of

action and lost love is being remade; this time as a two-part TV

event for public broadcaster, ZDF.

Ben Becker stars as von der Trenck, who falls in love with

Amelie (as played by Alexandra Maria Lara), the favorite

sister of Prussia’s King Frederick II (August Zirner), better

known as Frederick the Great.

But Trenck’s fate is in the hands of none other than one of the

most powerful and absolute rulers history has known. He could

become a powerful figure at court, but his feelings for Amelie

prove to be his downfall. Frederick feels he has been treated with

Kino 3/2002


contempt and takes offense. Hard against himself and harder

against those whom he believes have betrayed his loyalty, trust

and friendship, he forbids the two lovers from meeting. Trenck is

subsequently thrown into prison. Escape seems impossible.

One of the most interesting and controversial figures of his time,

Trenck’s story is part of Prussian-German history. The German

”Count of Monte Cristo“, he was a charismatic hero who fell victim

to the greatest injustice. His courage and unbreakable will

became legendary.

Producer Stephan Bechtle intends this updated version to be

”an exciting mixture of adventure, love, gallantry and tragedy.

Modern special effects mean we can make a lavish and authentic

production of the highest standards. The story of Friedrich

Freiherr von der Trenck forms the basis for an emotional and

exciting television experience.“

Among the supporting players are Hannes Jaenicke and

Henriette Richter-Roehl as a Lady of the Court, Marie.

She is perhaps best known for her appearance in the long-running

television drama series, Marienhof. Also to be seen is Matthias

Habich, who received a German Film Award for his supporting

role in Caroline Link’s Nowhere in Africa/Nirgendwo

in Afrika (2001). Habich played the title character in the 1973

original and this time round has been promoted to the rank of

General von Habich.

To complete the historical circle, the director and director of

photography, Gernot Roll (best known for his story of the

great German literary dynasty, The Manns), was also a cameraman

on the original version.


Das Wunder

von Bern

Original Title Das Wunder von Bern English Title The

Miracle of Bern Type of Project Feature Film Cinema Genre

Drama Production Company Little Shark Entertainment,

Cologne, in co-production with Senator Film Produktion, Berlin,

SevenPictures Film, Munich With backing from Filmstiftung

NRW, Filmfoerderungsanstalt (FFA), FilmFernsehFonds Bayern,

Filmboard Berlin-Brandenburg Producers Tom Spiess, Hanno

Huth Director Soenke Wortmann Screenplay Soenke

Wortmann, Rochus Hahn Director of Photography Tom

Faehrmann Editor Ueli Christen Music by Marcel Barsotti

Principal Cast Peter Lohmeyer, Louis Klamroth, Peter Franke,

Lucas Gregorowicz, Katharina Wackernagel, Johanna Gastdorf

Format 35 mm, color, 1:1.85 Shooting Language German

Shooting in North Rhine-Westphalia and Switzerland in June

and August 2002 German Distributor Senator Film Verleih

GmbH, Berlin

Kino 3/2002

Ben Becker in ”Trenck – Zwei Herzen gegen die Krone“

(photo © Bavaria Film/Jiri Hanzl)

Soenke Wortmann in



Little Shark Entertainment · Tom Spiess

Eifelstrasse 19 · 50677 Cologne/Germany

phone +49-2 21-33 61 10 · fax +49-2 21-3 36 11 12

email: littleshark@littleshark.de · www.littleshark.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


It was no real surprise when Soenke Wortmann announced

that his next feature project would be entitled The Miracle of

Bern (Das Wunder von Bern). After all, Wortmann had

been a professional football player before hanging up his boots to

become a film director.

”The film should in no way be seen as being just about football,“

declares Tom Spiess, partner with Wortmann in their

Cologne-based production outfit Little Shark Entertainment.

”Naturally, with a title like The Miracle of Bern, it’s

rather ambivalent. Of course, there are scenes of the World Cup

matches, but the film’s center focuses on a drama – the story of a

family and of a man coming home to his family in 1954 from a

POW camp in Russia.“

At the center is the family’s 11-year-old son Matthias (played by

Louis Klamroth) who – in the absence of his real father – has

found a substitute in his idol, the national team player Helmut

Rahn, who says that he can only win if Matthias is at the matches

like a mascot. But Matthias’ father has little understanding for his

son’s dream of helping Rahn score the deciding goal in the World

Cup final in Bern …

In order to recreate the atmosphere of the early fifties, the production

team thought long and hard about possibly going to shoot

in the Czech Republic or Poland. ”There weren’t any big towns or

urbanization then, the Ruhr region was just a collection of mining

settlements,“ Spiess explains. ”But we really wanted to shoot in

North Rhine-Westphalia and worked closely with production

designer Uli Hanisch and cameraman Tom Faehrmann to

find a patchwork of locations thanks to the cooperation of the

towns in the region.“

Once shooting wraps in mid-August, extensive post-production

work will crank up on complex CGI shots at Das Werk’s digital

facilities throughout Germany, lasting until mid-2003. A theatrical

release is planned for autumn 2003.



German Films at this Summer’s International Film Festivals

at Karlovy Vary in Competition

Caroline Link Nirgendwo in

Afrika Nowhere in Africa

World Sales Bavaria Film International, Geiselgasteig/Germany

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

email: bavaria.international@bavaria-film.de

in Competition/Documentaries

Stanislaw Mucha Absolut Warhola

World Sales Media Luna Entertainment, Cologne/Germany

phone +49-2 21-1 39 22 22 · fax +49-2 21-1 39 22 24

email: info@medialuna-entertainment.de

in Competition/Documentaries

Douglas Wolfsperger Bellaria – so lange

wir leben! Bellaria – As Long As We Live!

World Sales Peppermint, Munich/Germany

phone +49-89-9 82 47 08 83 · fax +49-89-9 82 47 08 13

email: mail@seepeppermint.com

in Competition/Documentaries

Christian Bauer Missing Allen

World Sales please contact Tangram Christian Bauer Filmproduktion, Munich/Germany

phone +49-89-2 36 60 60 · fax +49-89-23 66 06 60

email: info@tangramfilm.de

at Locarno in Competition

Iain Dilthey Das Verlangen The Longing

World Sales please contact Filmakademie Baden-Wuerttemberg,


phone +49-71 41-96 91 02 · fax +49-71 41-96 92 92

email: arthur.hofer@filmakademie.de

in Competition

Michael Hofmann Sophiiiie!

World Sales please contact Avanti Media Fiction, Berlin/Germany

phone +49-30-2 64 61 34 · fax +49-30-2 64 61 36

email: avanti@avantimedia.com

at Montreal in Competition

Anne Wild Mein erstes Wunder

My First Miracle

World Sales please contact Jost Hering Film, Berlin/Germany

phone +49-30-21 75 68 56 · fax +49-30-21 75 68 58

email: josthering@aol.com



at San Sebastian

New Directors' Competition

Philipp Stoelzl Baby

World Sales Bavaria Film International, Geiselgasteig/Germany

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

email: bavaria.international@bavaria-film.de

in Competition

Dani Levy Vaeter I’m the Father

World Sales Bavaria Film International, Geiselgasteig/Germany

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

email: bavaria.international@bavaria-film.de

at Venice in Competition

Winfried Bonengel Fuehrer Ex

World Sales Bavaria Film International, Geiselgasteig/Germany

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

email: bavaria.international@bavaria-film.de

in Competition

Doris Doerrie Nackt ”Naked“

World Sales Cinepool, Munich/Germany

phone +49-89-55 87 60 · fax +49-89-55 87 62 29

email: cinepool@telepool.de

German-International Co-Productions in Competition

Sergei Bodrov Bear’s Kiss

World Sales Fortissimo Film Sales, Amsterdam/The Netherlands

phone +31-20-6 27 32 15 · fax +31-20-6 26 11 55

email: info@fortissimo.nl

German-International Co-Productions in Competition

Agnieszka Holland Julie Walking Home

World Sales Overseas Film Group/First Look Media, Los Angeles, CA/USA

phone +1-3 23-3 37 10 00 · fax +1-3 23-3 37 10 78

email: rlittle@firstlookmedia.com

at San Sebastian in Competition

Eoin Moore Pigs Will Fly

World Sales Peppermint, Munich/Germany

phone +49-89-9 82 47 08 83 · fax +49-89-9 82 47 08 13

email: mail@seepeppermint.com

at San Sebastian

New Directors' Competition

Chris Kraus


World Sales please contact av communication, Ludwigsburg/Germany

phone +49-71 41-1 47 72 30 · fax +49-71 41-1 47 72 82

email: scherbentanz@avcommunication.de

German Films at this Summer’s International Film Festivals

German Films at the Sidebars and German Co-P

at Karlovy Vary

in Competition

Robert Schindel, Lukas Stepanik Gebuertig (Austria/Poland/Germany/USA)

Variety Critics’ Choice


Henner Winckler Klassenfahrt School Trip

John McKay The Crush (United Kingdom/Germany)

István Szabó Taking Sides – Der Fall Furtwaengler (Germany/France/United Kingdom)

Christian Petzold Toter Mann Something to Remind Me

Horizons: Award-Winning Films

Andreas Dresen Halbe Treppe Grill Point

Bertrand Tavernier Laissez-passer (France/Germany/Spain)

Another View

Liu Hao Chen Mo he Meiting (China/Germany)

Almut Getto Fickende Fische Do Fish Do It?

Matthias Keilich Nicht Fisch, nicht Fleisch Neither Fish, Nor Fowl

Gabriel Baur Venus Boyz (Switzerland/Germany/USA)

Forum of Independents

Angela Christlieb, Stephen Kijak Cinemania (Germany/USA)

Franz Mueller, Martin Scharf, Tini Tuellmann, Philipp Schaefer,

Tom Uhlenbruck, Jens Schillmoeller Freitagnacht

Valeska Grisebach Mein Stern (Austria/Germany)

Mika Kaurismaeki Moro no Brasil (Germany/Brazil/Finland)

Pan Nalin Samsara (Germany/India)

Joerg Wagner, Stefan Prehn Staplerfahrer Klaus – Der erste Arbeitstag (short)

East of the West

Maja Weiss Varuh Meje (Slovenia/Germany)

Tribute to Vlastimil Brodsky´

at Locarno

Frank Beyer Jakob, der Luegner Jacob the Liar (Germany/Czech Republic)

in Competition

Penny Panayiotopoulou Hard Good-Byes: My Father (Greece/Germany)

Video Competition

Jasmin Hermann, Dirk Hilbert, Athanasios Karanikolas, Till Passow, Robert Thalheim,

Thorsten Trimpop, Bartosz Werner HFF Goes Hollywood

Hanns Zischler Kafka geht ins Kino

oductions at the International Summer Festivals

Filmmakers of the Present

Walther Ruttmann Berlin. Die Sinfonie der Grossstadt

Thomas Schadt Berlin – Sinfonie einer Grossstadt Berlin Symphony

Afghan Day & Filmmakers of the Present

Critics’ Week

at Montreal

World Greats

Heiner Stadler Essen, Schlafen, keine Frauen Eat, Sleep, No Women

Angela Christlieb, Stephen Kijak Cinemania (Germany/USA)

Ventura Pons Food for Love (Spain/Germany)

Andreas Dresen Halbe Treppe Grill Point

Arvo Iho Karu Suda The Heart of the Bear (Estonia/Germany/Czech Republic/Russia)

Michael Hofmann Sophiiiie! (tbc)

Iain Dilthey Das Verlangen The Longing

World Cinema: Reflections of Our Time

Stanislaw Mucha Absolut Warhola

Carsten Fiebeler Die Datsche Home Truths

Dito Tsintsadze An Erotic Tale (Erotic Tales short, Germany/Georgia)

Christian Wagner Ghettokids

André Bergelt Inas Geburtstag Ina’s Birthday

Jana Matthes, Andrea Schramm Die letzte Reise

Fridrik Thor Fridriksson On Top Down Under (Erotic Tales short, Germany/Iceland)

Bob Rafelson PORN.COM (Erotic Tales short, Germany/USA)

Cinema of Tomorrow: New Trends

Heiner Stadler Essen, Schlafen, Keine Frauen Eat, Sleep, No Women

Sven Taddicken Mein Bruder der Vampir Getting My Brother Laid

David Safarian Oror Lullaby (Armenia/Germany)

African Horizons

Fritz Baumann Anansi

At Venice

New Territories

Rosa von Praunheim Kuehe vom Nebel geschwaengert Cows Knocked-Up by Fog

We were unfortunately unable to include details of films which were invited by festivals after KINO went to press.

Information on the World Sales companies of these films is available from:

Export-Union of German Cinema · 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 · www.german-cinema.de



Berlin – Alexanderplatz

After being released from prison, Franz is determined to finally lead a decent life. But it is difficult

to get used to living outside of prison again. In the local bar, he meets Reinhold, leader of a gang

of criminals. Unable to convince Franz to join the gang, Reinhold gets him to take a drive with

them one night. When Franz realizes that they are on their way to a job, he refuses to participate

and is thrown out of the car while it is still moving. Franz survives, but loses his right arm. Having

now lost all faith and sure he’ll never make it on ”the straight and narrow“, Franz gives in and

joins Reinhold’s gang. Franz’s new girlfriend Mieze, however, finds out what’s going on and starts

making trouble. To get her out of the way, Reinhold tricks her into taking a drive with him and

kills her. When Franz learns of Reinhold’s treachery, he grabs his revolver and heads to the local

bar to confront the gang leader. But the bar is already swarming with cops … In court, Franz is

acquitted and Reinhold is sentenced to 15 years in prison. Although he’s hit rock bottom, Franz

still finds the strength to go on. Working as a street vendor selling tumbler toys on Alexanderplatz

in Berlin, Franz has finally found happiness in a simple, but upright life.

Genre Drama Category Feature Film Cinema

Year of Production 1931 Director Piel

Jutzi Screenplay Alfred Doeblin, Hans

Wilhelm, Karl Heinz Martin, based on Doeblin’s

novel of the same name Director of

Photography Nikolaus Farkas Editor Goeza

Pollatschik Music by Allan Gray Production

Design Julius von Borsody Producer Arnold

Pressburger Production Company Allianz-

Tonfilm, Berlin Principal Cast Heinrich

George, Maria Bard, Margarete Schlegel,

Bernhard Minetti, Gerhard Bienert, Albert

Florath, Paul Westermeier, Heinrich Gretler,

Paul Rehkopf, Jakob Tiedtke Length 89 min,

2,240 m Format 35 mm, b&w, 1:1.37

Original Version German Sound

Technology Optical Sound German

Distributor Filmverleih Die Lupe, Goettingen

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

email: DSchuerhoff@betacinema.com · www.betacinema.com

Piel Jutzi was born in 1896 in Alt-Leiningen and died in 1946

in Neustadt. Originally a painter, he directed his first films Das

blinkende Fenster (1919), Die Rache der Banditen

(1919) and Das deutsche Lied – Henkerskarren und

Koenigsthron (1920) auto-didactically. He went to Berlin in

1925 and filmed the comedy Kladd und Datsch (1926) and

the sentimental Kindertragoedie (1927). All of his early

works, however, are presumed lost. He then worked as a cameraman,

documentarist and editor for Prometheus Film on

numerous Russian films, as well as with the Russian director

Roschal on the first German-Russian co-production. Russian

silent films influenced his worked, resulting in the masterpieces

Hunger in Waldenburg – Ums taegliche Brot (1928)

and Berlin – Alexanderplatz (1931). However, in 1933 his

films were prohibited by the government. From then on, he

directed short comedies and crime stories. His other films

include: Frau Eva wird mondaen (1934), Die Sache mit

dem Hermelin (1939) and Fruechtchen (1942), among


Scene from ”Berlin – Alexanderplatz“ (photo © Filmmuseum Berlin/Deutsche Kinemathek)

Kino 3/2002



Scene from ”The Adventures of Baron Munchausen“

(photo © Filmmuseum Berlin/Deutsche Kinemathek)

Arising from the past, the Baron of Munchausen takes on new form in his free-spirited adventures

with his loyal servant Kuchenreutter. In a series of wonderful stories, from Braunschweig to St.

Petersburg, Munchausen attempts to win over the favors of the Empress Katharina, reigns over Prince

Potemkin in a duel, and fights as a regiment commander in Katharina's war against the Turks, who

eventually take him captive and imprison him. However, due to his amazing storytelling talents, he

soon becomes a pet favorite to the Sultan. In one of his clever bets, he is able to free the beautiful

Princess d'Este and escape with her to Venice, where he runs into Casanova. Finally, Munchausen and

Kuchenreutter are tempted by the gondola of the Montgolfiere and lifted up to the moon, where

Kuchenreutter takes his last breath, but Munchausen lives on as an eternal character for all time.

Genre Fantasy, Literature Category Feature Film

Cinema Year of Production 1942 Director

Josef von Baky Screenplay Berthold Buerger, based

on the novel by Erich Kaestner Director of

Photography Werner Krien Editors Milo

Harbich, Walter Wischniewsky Music by Georg

Haentzschel Production Design Karl Getschmann,

Otto Guelstorff, Emil Hasler, Walter Kurz,

Hans Minzloff, Matthieu Ostermann, Wilhelm

Vorwerg Producer Eberhard Schmidt Production

Company Ufa-Filmkunst, Berlin Rights Friedrich-

Wilhelm-Murnau Foundation, Wiesbaden Principal

Cast Hans Albers, Hans Brausewetter, Kaethe

Haack, Brigitte Horney, Ferdinand Marian, Leo Siezak,

Hermann Speelmans, Marina von Ditmar, and many

more Length 116 min, 3,154 m Format 35 mm,

color, 1:1.37 Original Version German Dubbed

Version English Subtitled Version English

Sound Technology Optical Sound German

Distributor Transit Film GmbH, Munich

World Sales:

Transit Film GmbH · Loy W. Arnold, Mark Gruenthal

Dachauer Strasse 35 · 80335 Munich/Germany

phone +49-89-5 99 88 50 · fax 49-89-59 98 85 20

email: transitfilm@compuserve.com · www.transitfilm.de

Kino 3/2002

Josef von Baky was born in 1902 in Hungary and died

in 1966 in Munich. After his schooling, he worked as a film

projectionist before founding his own distribution company

with his father, owner of the Urania cinema in Budapest. In

1927, he moved to Berlin where he made the acquaintance

of the Hungarian director Geza von Bolvary, with whom he

worked as directorial assistant for eight years. He began his

own directing career with music films such as Intermezzo

(1936) and Menschen vom Varieté (1938).

In 1947, he founded Objectiv-Film and produced the melodrama

… and the Sky Above Us (… und ueber

uns der Himmel, 1947) and The Last Illusion

(Der Ruf, 1949). His other films include: The

Adventures of Baron Munchausen (Muenchhausen,

1942), the Erich Kaestner-adaptation Two

Times Lotte (Das doppelte Lottchen, 1951) –

winner of a German Film Award in Gold, Die Fruehreifen

(1957), The Man Who Sold Himself (Der

Mann, der sich verkaufte, 1959), The Strange

Countess (Die seltsame Graefin, 1961), and many


(*no. 31 Die Ehe der Maria Braun was already

presented within the framework of the former series

”German Classic Movies“ in KINO 1/1999)




Die Buechse der Pandora



Dr. Schoen, owner of a large newspaper, has fallen under the spell of the beautiful florist

Lulu. Not concerned with what others may think about their class differences, he marries

her. Shortly thereafter, Lulu can no longer stand him, shoots him and is prosecuted. She

then flees to Paris with Schoen’s son Alwa and another friend. But soon Lulu falls into the

hands of a blackmailer and Alwa becomes a cardsharp. Once again, Lulu has to escape.

This time her goal is London, where she finally meets her fate. She becomes a prostitute and,

on Christmas Eve, Jack the Ripper’s next victim.

Genre Drama, Literature Category Feature

Film Cinema Year of Production 1929

Director Georg Wilhelm Pabst Screenplay

Ladislaus Vajda Director of Photography

Guenther Krampf Editor Joseph R. Fiesier

Music by Willy Schmidt-Gentner (1929), Peer

Raben (1997) Production Design Andrej

Andrejew, Gottlieb Hesch Producer Seymour

Nebenzahl Production Company Nero-Film,

Berlin Principal Cast Louise Brooks, Daisy

d’Ora, Gustav Diessl, Carl Goetz, Fritz Kortner,

Franz Lederer, Krafft Raschig, Alice Roberts

Length 120 min, 3,255 m Format 35 mm,

b&w, 1:1.33 Original Version silent with

German intertitles Intertitled Versions

Czech, English German Distributor Stiftung

Deutsche Kinemathek, Berlin

World Sales:

Atlantic-Film S.A. · Martin Hellstern

Muenchhaldenstrasse 10 · 8034 Zurich/Switzerland

phone +41-1-4 22 38 32 · fax +41-1-4 22 37 93

email: info@praesens.com · www.praesens.com

Georg Wilhelm Pabst was born in 1885 in Raudnitz (former

Czechoslovakia) and died in 1967 in Vienna. He worked as a

theater set designer and theater actor before he began his film

career. In 1921, he appeared in Carl Froelich’s Im Banne der

Kralle, after which he served as assistant director on Froelich’s

next two films. Pabst’s debut film was The Treasure (Der

Schatz, 1923). His critical analysis of bourgeois society and

moral of the time is evidenced in The Street of Sorrow

(Die freudlose Gasse, 1925) as well as in Pandora’s Box

(Die Buechse der Pandora, 1929) and Diary of a Lost

Girl (Tagebuch einer Verlorenen, 1929). In 1930, he

became president of the ”Dacho“ organization of German

filmmakers, and together with H. Mann, E. Piscator and others,

he founded the Association of Film Arts. A selection of his most

well-known films includes: Comrades of 1918 (Westfront

1918, 1930), Comradeship (Kameradschaft, 1931), The

Threepenny Opera (Die Dreigroschenoper, 1931),

Queen of Atlantis (Die Herrin von Atlantis, 1932),

Don Quichotte (1933), The Comedians (Komoedianten,

1941), Paracelsus (1943), The Trial (Der

Prozess, 1948), The Last Act (Der letzte Akt, 1955),

It Happened on July 20th (Es geschah am 20. Juli,

1955), and many more.

Scene from ”Pandora’s Box“ (photo © Filmmuseum Berlin/Deutsche Kinemathek)

Kino 3/2002

Die Blechtrommel

Scene from ”The Tin Drum“ (photo © Filmmuseum Berlin/Deutsche Kinemathek)

1924. Oskar Matzerath, a precocious child, is born in the ”Free City“ of Danzig. The boy’s third birthday

leads to serious consequences: he stops growing in protest to the nature of the world around

him. Henceforth, he looks at the adults from the optical perspective of a child and finds them

to be nothing but a huge monstrosity reaching its political climax in National Socialism and the

Second World War. Oskar is given a small metal drum on his birthday and drums out his protest

against the world. His rhythmic drumming even throws Nazi marches into confusion. Before long, he

discovers that he can shatter glass with his screaming and uses this as yet another weapon in his

rebellion. He personally lives out the entire chaos in the world and only ends his boycott on growth

when the Germans are defeated and banished from Danzig at the end of the war.

Genre Drama, Literature Category Feature Film Cinema Year

of Production 1979 Director Volker Schloendorff Screenplay

Jean-Claude Carrière, Guenter Grass, Volker Schloendorff,

Franz Seitz Director of Photography Igor Luther Editor

Suzanne Baron Music by Maurice Jarre, Friedrich Meyer

Production Design Dominique Antony, Ewa Kowalska, Bernd

Lepel, Axel Manthey, Nicos Perakis Producer Franz Seitz Line

Producer Eberhard Junkersdorf Production Companies

Seitz Filmproduktion, Munich, Bioskop Film, Munich, Argos Film,

Neuilly, Artemis Film, Berlin, GGB, Munich, Hallelujah-Film, Munich,

HR, Frankfurt Principal Cast Mario Adorf, David Bennent,

Heinz Bennent, Tina Engel, Daniel Olbrychski, Roland Teubner,

Katharina Thalbach, Angela Winkler Length 145 min, 3,964 m

Format 35 mm, color, 1:1.66 Original Version German

Subtitled Versions Arabic, English, French, Italian, Japanese,

Portuguese, Spanish Sound Technology Optical Sound

International Festival Screenings Cannes 1979, Sydney

1980, Belgrade 1980, Milan 1980, among others International

Awards German Film Award in Gold 1979, Golden Palm Cannes

1979, Golden Screen 1979, Jupiter 1979, OSCAR for Best Foreign

Language Film 1980, First Prize Sydney 1980, Best Direction & Best

Screenplay Belgrade 1980, Premio San Fedele Milan 1980, David

Wark Griffith Award for Best Foreign Film 1980 German

Distributor UIP, Frankfurt

World Sales:

Seitz Filmproduktion GmbH · Franz Seitz

Beichstrasse 8 · 80802 Munich/Germany

phone +49-89-39 11 23 · fax +49-89-33 74 32

Kino 3/2002


Volker Schloendorff was born in Wiesbaden in 1939.

He made his debut as a director in 1965 with You Are

a Man, My Boy (Der junge Toerless) which won

the German Film Award in Gold and the Max-Ophuels Award

in 1966. 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 (and still the only) German film

to be awarded an OSCAR for Best Foreign Language Film.

His other films include: The Sudden Wealth of the

Poor People of Kombach (Der ploetzliche

Reichtum der armen Leute von Kombach, 1971),

and Der Fangschuss (1977), both winners of German

Film Awards in Gold, an adaptation of Heinrich Boell’s The

Lost Honor of Katharina Blum (Die verlorene

Ehre der Katharina Blum, 1975, together with

Margarethe von Trotta), Germany in Autumn

(Deutschland im Herbst, 1978, together with Stefan

Aust, Alexander Kluge, et al), Circle of Deceit (Die

Faelschung, 1981), Swann in Love (Un amour de

Swann, 1984), 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 more.








In a tragic car accident, Lilli’s mother and Paul’s wife are killed. Little Lilli, her father Frank

and his friend Paul survive.

Thirteen years later, Lilli is a teenager and the two men have become failed characters who

scrape a living together by working as barmen and bouncers in a strip club. The disaster

unfolds when Lilli seduces Paul and gets pregnant. In the heat of the moment, her father

shoots a boy whom he suspects of raping his daughter. And as fate would have it, they end

up again where the accident happened all those years ago.

Genre Drama Category Feature Film Cinema Year of

Production 2002 Director Philipp Stoelzl Screenplay

Wolfgang Kohlhaase, Davis Hamblyn Director of

Photography Michael Mieke Editor Sven Budelmann

Music by Ingo Frenzel Production Design Karin

Betzler Producers Frank Kaminski, Ulrich Stiehm

Production Company DoRo Fiction Films, Berlin, in coproduction

with Gemini Film, Cologne, ID Film, Diemen-

Zuid/Holland, Twin Film, Munich Principal Cast Alice

Dywer, Lars Rudolph, Filip Peeters Length 105 min,

2,873 m Format 35 mm, color, cs Original Version

German Subtitled Versions English, Spanish Sound

Technology Dolby SRD International Festival

Screenings Munich 2002, San Sebastian 2002 (Zabaltegi)

With backing from Filmboard Berlin-Brandenburg, Nord

Media, Dutch Film Fund

Philipp Stoelzl studied Set Design at the renowned

Muenchner Kammerspiele theater. He then worked as

a freelance set designer and exhibition architect with,

among others, Robert Wilson. In 1996, he became art

director at DoRo Film in Vienna, followed by a transfer

to the DoRo Berlin office, where he began his directing

career. He gained international recognition with his

video productions for such groups as Bootsy Collins,

Faith No More, Westernhagen and Rammstein. The

British design magazine Shots praised the new director

on his work for the US independent act VAST, which

also won him the VMCP Award in the category for Best

Direction. His videos for Garbage and Madonna however

led the way to his international breakthrough. His

films include: the DoRo productions Morituri te

salutant (short, 2000) and Baby (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

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

Scene from ”Baby“ (photo © M. Mieke)




Kino 3/2002

Bibi Blocksberg

Celebrations in Neustadt: young Bibi Blocksberg’s spontaneous outburst of witchcraft caused

a sudden rainstorm and saved two children from a fiery death. Mother Barbara, a witch to

the very core, is as proud of her daughter as any mother could be. But overworked, and

stressed out, father Bernhard is less than impressed by his offspring’s supernatural escapades.

Bibi then receives news from Chief Witch Walpurgia that for her services above and beyond

the call of duty she’s been awarded the Crystal Ball, which will make her a full-fledged

witch. Proudly, Bibi flies on her broomstick to the Blocksberg mountain. But Rabia, a particularly

mean and nasty witch, is unwilling to see Bibi gain the honors and swears not to rest

until she has relieved Bibi of the precious jewel …

Sidonie von Krosigk (photo © Bavaria Film Verleih/Constantin Film)

Genre Children’s Film, Family Category Feature

Film Cinema Year of Production 2002

Director Hermine Huntgeburth Screenplay Elfie

Donnelly Director of Photography Martin

Langer Editor Hansjoerg Weissbrich Music by

Biber Gullatz, Moritz Freise Production Design

Susann Bieling, Uwe Szielasko Producers Uschi

Reich, Karl Blatz Line Producers Bernd Krause,

Sabine Eichinger Production Company Bavaria

Filmverleih- & Produktion, Munich, in co-production

with Kiddinx Filmproduktion, Berlin, Gustav Ehmck

Filmproduktion, Graefeling, in cooperation with BR,

Munich Principal Cast Sidonie von Krosigk,

Maximilian Befort, Katja Riemann, Corinna Harfouch,

Ulrich Noethen Casting An Dorthe Braker

Special Effects CA Scanline Production,

Geiselgasteig Studio Shooting Bavaria Studios,

Geiselgasteig Length 104 min, 2,900 m Format

35 mm, color, 1:1.85 Original Version German

Sound Technology Dolby Digital With

backing from FilmFernsehFonds Bayern,

Bayerischer BankenFonds, Filmfoerderungsanstalt

(FFA) German Distributor Constantin Film

Verleih GmbH, Munich

Hermine Huntgeburth was born in 1957 in

Paderborn. In 1977, she enrolled in a Film course

at the Hamburg College of Arts. In 1983, with a

fellowship from the German Academic Exchange

Service (DAAD) in hand, she moved to study

Film in Sydney/Australia. During her studies,

Huntgeburth worked as a scriptwriter, camera

woman, technician and assistant theater director,

and made her main mark in documentary film.

Her films include: Irmgard (1980), In der

Praerie, in der Dakota (1981), Einblick

(1981), Im Kreis der Lieben (1991) - which

won her a German Film Award in Gold for Best

New Director, Ein falscher Schritt (TV,

1995), Gefaehrliche Freundin (TV, 1996),

The Trio (Das Trio, 1998), Und alles

wegen Papa (TV, 1998), Der Hahn ist tot

(TV, 1999), Stunde des Wolfes (TV, 1999),

Romeo (TV, 2001), Das verflixte 17. Jahr

(TV, 2001), and Bibi Blocksberg (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 · www.bavaria-film-international.de

Kino 3/2002



Erkan & Stefan und

die Maechte der Finsternis


Many thousands of years ago, the evil Kartan and the benevolent Tana fight against each other in a struggle to

gain control of a magical dagger. Only if he can kill Tana, will Kartan be able to wake the evil spirits of the knife

and become the master of unlimited powers on earth. In their bitter life-or-death struggle, the beautiful Tana

escapes, but her spirit is trapped within the dagger, which then mysteriously disappears. Thousands of years later

– namely today – Kartan finds the dagger, but as fate would have it, the magical weapon happens to be in the

hands of the chaotic, loud-mouth friends Erkan & Stefan.

Tana escapes from the confines of the dagger and asks the two friends for help. While Erkan is excited about the

idea of spending a hot night with Tana after their mission, Stefan thinks that she is actually a virtual character from

their favorite video game and that they have finally managed to beam themselves into the game.

Despite the fact that Kartan has sent two mad killers after them, Erkan & Stefan are able to ward them off. But

then Kartan casts a spell on them, turning them into the super cool dudes they have always wanted to be.

Seduced by the powers of evil, they soon forget their promise to help Tana. When they finally come to their

senses and realize what has happened, it is almost too late to save Tana from Kartan’s evil plan …

Genre Comedy Category Feature Film Cinema Year of Production 2002

Director Axel Sand Screenplay Philipp Weinges, Guenter Knarr, Stefan Lust,

Erkan M. Moosleitner Director of Photography Stephan Schuh Editor

Jochen Retter Music by Ralf Wengenmayr Production Design Ari Hantke

Producers Mischa Hofmann, Philip Voges Executive Producer Christoph

Mueller Production Companies Hofmann & Voges Entertainment, Munich,

Goldkind Filmproduktion, Munich, in co-production with Constantin Filmproduktion,

Munich Principal Cast Erkan M. Moosleitner, Stefan Lust, Bettina Zimmermann,

Leon Boden, Corinna Harfouch Casting Rita Serra-Roll Special Effects

CA Scanline Production, Geiselgasteig Studio Shooting Bavaria Film-Studios,

Geiselgasteig Length 82 min, 2,240 m Format 35 mm, color, 1:1.85 Original

Version German Dubbed Version English Sound Technology Dolby Digital

With backing from FilmFernsehFonds Bayern, Filmfoerderungsanstalt (FFA)

German Distributor Constantin Film Verleih GmbH, Munich

World Sales:

Atlas International Film GmbH · Dieter Menz, Stefan Menz, Christl Blum

Rumfordstrasse 29-31 · 80469 Munich/Germany

phone +49-89-2 10 97 50 · fax +49-89-22 43 32

email: mail@atlasfilm.com · www.atlasfilm.com

Stefan Lust, Erkan M. Moosleitner (photo © JAT PHOTO/OLCZYK)

Axel Sand has worked as a cameraman

since 1983. He had his directorial debut in

2001 with four episodes of Sinan

Toprak ist der Unbestechliche.

He was director of photography on such

films as Girls on Top (Maedchen Maedchen,

2001), CaiPiranha (1998), Die Schlaefer

(1998), Das Phantom (1999), Der Voyeur

(1999), Der Bunker (1999), as well as for

various advertising spots, music clips, and

over 30 documentaries. A member of the

Association of German Composers, he

also writes film scores.

Kino 3/2002

Essen, Schlafen, keine Frauen


”Wars should be limited to countries with difficult names and difficult climates. This would keep television

news announcers from mentioning them and would limit the number of foreign correspondents to a

minimum.“ Margaret Millar in The Murder of Miranda

Sunday, 7 October 2001. At 18:27 h local time, the first cruise missiles hit their targets in Kabul,

Kandahar and Jalalabad: ”America strikes back“.

On this fateful Sunday, a billboard painter in Rawalpindi is worried about his wedding day, two

men on the Amazon are happy about rising gold prices, an unemployed musician plays saxophone

in the Paris subway, a South African miner works an extra shift, an American in China writes a

letter to his wife in Ohio, an Egyptian pop star is supposed to sing in Washington …

It is like the story of the butterfly in China, who, with the flap of its wings, sets a storm in motion

on the other side of the world. Only that one can also view the story from another perspective:

falling bombs in Afghanistan can lead to shortcomings of domestic bliss in Paris, closed doors for

concert-goers in Washington, a Pakistani woman never seeing her fiancé’s face again, or a woman

in Ohio trusting her husband, for no reason at all.

Scene from ”Eat, Sleep, No Women“ (photo © Stadler Film/WDR/BR)

Genre Drama, Experimental Category Semi-

Fictional Documentary Year of Production

2002 Director Heiner Stadler Screenplay

Heiner Stadler Directors of Photography

Yusef Hu, Heiner Stadler Editor Micki Joanni

Music by Roman Bunka Producer Heiner

Stadler Production Company Heiner Stadler

Film, Munich, in cooperation with BR, Munich,

WDR, Cologne Length 76 min, 2,200 m

Format Super 16 mm Blow-up 35 mm, color,

1:1.66 Original Version German Subtitled

Version English Sound Technology Dolby SR

International Festival Screenings Munich

2002, Locarno 2002, Montreal 2002

World Sales: please contact

Heiner Stadler Filmproduktion · Heiner Stadler

Agnesstrasse 66 · 80797 Munich/Germany

phone +49-89-12 39 22 02 · fax +49-89-12 39 22 62

Kino 3/2002

Heiner Stadler was born in 1948. After his

schooling, he worked as a photo reporter. He

broke off Theater and Art History studies to

attend film school in Munich until 1975. Before

making his own films, he worked as a cameraman

on numerous documentary and feature

films. His award-winning films include: King

Kongs Faust (1984), Gold! (1988), Das

Ende einer Reise (documentary, 1992),

Hannibal (documentary, 1993), Warshots

(1996), Der Kunstdetektiv (documentary,

2001), and Eat, Sleep, No Women

(Essen, Schalfen, keine Frauen, 2002),

among others.




Die Frau, die an

Dr. Fabian zweifelte


Summer in Dortmund. Paul has been a first-semester medical student for a number of years

now. His job as a casual dealer for Ingo and his younger half-brother Super is getting too hot

for him. The two brothers then make him a lucrative offer: a consignment of synthetic drugs

has to be taken to Brussels. Paul is forced to accept the assignment - and also secretly samples

a bit, which lands him directly in the hospital.

When he wakes up the next day, the night nurse has already notified his father, Willi, who

thinks his son is on heroine and goes wild. Willi decides to take Paul back home to the family

farm to straighten him out. To prove he’s up to scratch, Paul has to learn a love story novel by

heart. And not until he can recite the story word for word will Willi let him go.

Genre Comedy, Drama Category Feature Film

Cinema Year of Production 2001 Director

Andreas Rogenhagen Screenplay Andreas

Rogenhagen Director of Photography

Andreas Hofer Editor Guido Krajewski Music

by Ingo Kuys Production Design Peter

Menne Producer Joachim Ortmanns

Production Company Lichtblick Film,

Cologne Principal Cast Robert Glatzleder,

Dieter Pfaff, Lilia Lehner, Alexander Strobele,

Steffen Schult, Traute Hoess Length 90 min,

2,500 m Format Super 16 mm, color, 1:1.85

Original Version German Sound Technology

Dolby SR International Awards

Max-Ophuels Award 2002 With backing from

Filmstiftung NRW German Distributor

Venus Film, Berlin

Andreas Rogenhagen was born in 1965 in

Pirmasens. He studied Photo Journalism and

Film from 1989-1994 in Dortmund and attended

the Screenplay Writers’ College in Cologne

from 1996-1997. His films include: Humanity

Can’t Be Bettered (Die Menschheit

ist nicht zu ueberbieten, short, 1991),

Although I Hate Him, It Makes Me

Happy to See Him Laugh (Obwohl ich

ihn hasse, macht es mich froh wenn

er lacht, short, 1991), James System

Takes a Holiday (James System

macht Urlaub, short, 1992), The Final

Kick (1994) – winner of the prestigious Adolf

Grimme Award in 1995, Tasmaniac (1997),

The End of the War (Das Ende des

Krieges, short, 2000), and The Woman

Who Doubted Dr. Fabian (Die Frau,

die an Dr. Fabian zweifelte, 2001).

World Sales: please contact

Lichtblick Film- & TV Produktion GmbH · Joachim Ortmanns

Apostelnstrasse 11 · 50667 Cologne/Germany

phone +49-2 21-9 25 75 20 · fax +49-2 21-9 25 75 29

email: info@lichtblick-film.de · www.lichtblick-film.de

46 Kino 3/2002

Dieter Pfaff, Robert Glatzleder (photo © Lichtblick Film)

Fuehrer Ex

1986. Tommy and Heiko are both 18-years-old and live in East Berlin. They have been friends

since kindergarten and dream of life in a free country. After a failed escape attempt, they land

in one of the German Democratic Republic’s worse prisons. In order to survive daily life there,

Tommy uses the protection of the in-house neo-Nazi scene, but Heiko’s existence and survival

in jail is jeopardy. Tommy comes up with an escape plan and makes it to the west, but Heiko

hesitates and backs out at the last minute. Left behind, Heiko joins the neo-Nazis and becomes

one of the gang leaders. Several months later, after the fall of the Wall, Tommy shows up in

Berlin again. Heiko now has to decide between his friendship with Tommy and his radical political


Fuehrer Ex is based on the autobiographical book about Ingo Hasselbach, Die Abrechnung – ein

Neonazi steigt aus, which was also published in the U.S. by Random House New York under the

title of Fuehrer Ex.

Christian Bluemel, Aaron Hildebrand (photo © Nadja Klier/TOBIS STUIOCANAL)

Genre Drama Category Feature Film Cinema Year

of Production 2002 Director Winfried Bonengel

Screenplay Winfried Bonengel, Ingo Hasselbach,

Douglas Graham, based on Die Abrechnung – ein Neonazi

steigt aus Director of Photography Frank Barbian

Editor Monika Schindler Music by Loek Dikker

Production Design Thomas Stammer Producers

Clementina Hegewisch, Laurens Straub Production

Company Next Film Filmproduktion, Berlin, in co-production

with StudioCanal Produktion, Berlin, MBP

Medien, Munich Principal Cast Christian Bluemel,

Aaron Hildebrand, Jule Flierl, Luci van Org, Harry Baer

Casting Uljana Havemann Length 105 min, 3,006 m

Format 35 mm, color, 1:1.85 Original Version

German Subtitled Versions English, Italian Sound

Technology Dolby Stereo International Festival

Screenings Venice 2002 (in competition) With

backing from Mitteldeutsche Medienfoerderung,

Filmfoerderungsanstalt (FFA), Filmboard Berlin-

Brandenburg German Distributor Tobis StudioCanal

GmbH & Co. KG, Berlin

Winfried Bonengel studied at the ESRA

Film Academy in Paris from 1985-1989.

He worked as a theater director and director’s

assistant before he began directing films

himself. In addition to writing numerous

screenplays, he has directed: La Petite

Illusion (short, 1987), Die Anweisung

(short, 1989), Wir sind wieder da (TV,

1991), Eine unheilige Allianz (TV,

1992), Beruf Neonazi (1993) – which was

shown at over 40 festivals, Mein Leben:

Der Knast (TV, 1994), The Right Wing

Exposé (1995), Max Wolkenstein –

Tod eines Penners (TV, 1996), and

Fuehrer Ex (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 · www.bavaria-film-international.de

Kino 3/2002





Geht nicht gibt’s nicht

Down in the dumps because she didn’t get the apprenticeship she wanted, 18-year-old Conny

works at a gas station in the middle of nowhere. She’s always broke, still lives at home with her

three younger siblings, and has to fight for space at home and the attention of her parents. Ever

since her step-father lost his job and sits at home all day, she has only one wish: to get outta here!

Then one day she meets Mike and falls madly in love with him. He treats her like a queen and

shortly thereafter the two move in together. But as soon as the newness of the situation wears off,

Conny finds out that Mike is very much in debt. Although she is shocked, she wants to help him

and agrees to taking out a joint credit to pay off the debt. Then, to make matters even more complicated,

she then finds out that she is pregnant and realizes that she has to face reality. But Mike is

completely overwhelmed by the situation, and the only person who seems to want to help Conny

is, surprisingly, her step-father Heinz.

Genre Drama, Family, Love Story Category

TV-Movie (fiction) Year of Production 2002

Director René Heisig Screenplay Britta

Stoeckle Director of Photography Gunnar

Fuss Editor Eva Schnare Music by Manu Kurz

Production Design Thomas Freudenthal

Producers Kirsten Hager, Eric Moss, Andreas

Schneppe Production Company Hager

Moss Film, Munich, commissioned by ZDF, Mainz

Principal Cast Bernadette Heerwagen,

Sebastian Stroebel, Saskia Vester, Axel Prahl

Casting C.A.T., Munich Length 86 min,

984 m Format 16 mm, color, 16:9 Original

Version German Sound Technology Dolby

Stereo With backing from FilmFernsehFonds


World Sales: please contact

Hager Moss Film GmbH · Kirsten Hager, Eric Moss

Rambergstrasse 5 · 80799 Munich/Germany

phone +49-89-2 06 08 00 · fax +49-89-20 60 80 10

email: info@hager-moss.de · www.hager-moss.de

René Heisig was born in 1960 in

Ruesselsheim. He studied Medicine from

1980-1988, followed by studies at the

Academy of Television & Film in Munich

(HFF/M). During his studies, he made several

shorts, documentaries and advertising

spots. His other films include: Paul’s

Journey (Pauls Reise, 1998), Fuer die

Liebe ist es nie zu spaet (TV, 1999),

Vier Meerjungfrauen (TV, 2000),

Stahlnetz, das glaeserne Paradies

(TV, 2001), Therapie und Praxis (TV,

2001), Das Duo – tot am Strand

(TV, 2002), and Geht nicht gibt’s nicht

(TV, 2002), among others.

Sebastian Stroebel, Bernadette Heerwagen (photo © ZDF/Hager Moss Film GmbH)

Kino 3/2002

Julies Rueckkehr

Genre Drama, Family Category Feature Film Cinema

Year of Production 2002 Director Agnieszka

Holland Screenplay Agnieszka Holland, Arlene Sarner,

Roman Gren Director of Photography Jacek Petrycki

Editor Christian Lonk Music by Anton Gross

Production Design Marian Wihak, Ewa Skoczkowska

Producer Karel Dirka Co-Producers Paul Stephens,

Iwona Ziulkowska Production Company ART-OKO

Film, Munich, in co-production with The Film Works,

Toronto, IMX Communications, Halifax, Studio Filmowe

Tor, Warsaw Principal Cast Miranda Otto, William

Fichtner, Lothaire Bluteau Casting Alexa Fogel

Special Effects DAS WERK Digitale Bildbearbeitung,

Munich Length 118 min, 3,404 m Format 35 mm, color,

1:1.85 Original Version English Subtitled Version

Italian Sound Technology Dolby SRD International

Festival Screenings Venice 2002 (in competition)

World Sales:

Overseas Filmgroup/First Look Media · Robbie Little

8800 Sunset Boulevard · Los Angeles, CA 90046/USA

phone +1-3 23-3 37 10 00 · fax +1-3 23-3 37 10 78

email: rlittle@firstlookmedia.com · www.firstlookmedia.com


Henry is Jewish and is a professor at the local university. Julie is the daughter of Polish emigrants.

Together they have twins, Nicolas and Nicole, who are 10 years old. A happy family, Julie adores her

husband until the day she arrives home early from vacation and finds him in bed with another

woman. Henry is terribly remorseful – for him it was just a one-night stand – and he begs for Julie’s

forgiveness. For Julie however, her entire world has fallen apart. And in the midst of it all, they find out

that their little boy has cancer, and medicine cannot help him. All the members of the family cope in

different ways with this tragedy. As a scientist, Henry has to accept it. Nicole tries some magic rituals.

Julie’s father turns to religion. And Julie refuses to admit that the boy is going to die.

In her desperation, she seeks the help of a Russian healer in Poland named Alexis. Alexis has never

been with a woman before. Upon meeting Julie, he encounters something new and falls in love for the

first time. Julie, out of gratitude for healing her son and admiration, begins to love him in return.

Julie Walking Home is a story about family, love, betrayal, miracles and death. A story about the

various stages and hidden meanings in life.

Miranda Otto, William Fichtner (photo © ART-OKO Film)

Kino 3/2002

Agnieszka Holland was born in 1948 in

Warsaw and studied at the FAMU Film

Academy in Prgaue. She began her film career

as a director’s assistant under Krzysztof Zanussi.

Before she began directing herself, she wrote

numerous screenplays together with her mentor

Andrzej Wajda. Her other films include:

Angry Harvest (Bittere Ernte, 1985),

Europa Europa (Hitlerjunge Salomon,

1990), Olivier, Olivier (1992), The Secret

Garden (Der Geheime Garten, 1993),

Fallen Angels (TV, 1993), Washington

Square (1997), Shot in the Heart (TV,

2001), Julie Walking Home (Julies

Rueckkehr, 2002), and many more.







June Moon tells the tragic-romantic story of Paul und Nele, two loners who rediscover a lost

faith in the power of love. The two have nothing to lose and risk everything …

Fleeing from his past and traumatic memories of his deployment as a KFOR soldier in Kosovo,

Paul moves from Berlin to the small town of Paderborn. One day from the kitchen window, he

notices and observes his neighbor, Nele. Gradually, something like trust and friendship develops

between the two and they begin to open up to each other more and more. But a relationship

is out of the question for both of them, as they believe that the beginning of a love affair is

always the beginning of a painful ending.

It is only when Paul is diagnosed with a terminal illness that the two at last admit their feelings

for one another.

Genre Drama, Love Story Category Feature

Film Cinema Year of Production 2002

Director Hanno Hackfort Screenplay Hanno

Hackfort Director of Photography Frank

Grunert Editor Achim Seidel Music by Paul

Wuthe, JMPaula Production Design Utta

Hagen, Irene Piel Producers Wim Wenders,

Ulrich Felsberg, Ute Schneider Production

Company Road Movies Film Produktion, Berlin,

in co-production with WDR, Cologne Principal

Cast Oliver Mommsen, Laura Tonke, Stephan

Kampwirth, Willi Hagemeier Length 92 min,

2,517 m Format HD-Cam Blow-up 35 mm,

color, 1:1.85 Original Version German

Subtitled Version English (DigiBeta only)

Sound Technology Dolby SR With

backing from Filmstiftung NRW

World Sales: please contact

Road Movies Film Produktion

Clausewitzstrasse 4 · 10629 Berlin/Germany

phone +49-30-8 80 48 60 · fax +49-30-88 04 86 11

email: info@road-movies.de · www.road-movies.de

Hanno Hackfort was born in 1970 in

Paderborn. During his schooling, he was a

theater actor and received numerous awards.

He had his first directing experience with

children's plays. He then studied at the

Kaskeline Film Academy, graduating with the

short An die Parzen (1992). He has also

worked as an assistant sound engineer and is

one of the founding members of Affect Film.

His other films include: the shorts Schonzeit

(1991), Narrenfreiheit (1993), Euracom

(1995), Mannesmann (1997), Ausverkauft

(1998), Zwei fremde Augen

(1999), and his feature debut June Moon

(Junimond, 2002).

Oliver Mommsen, Willi Hagemeier (photo © Road Movies Filmproduktion/Sibylle Anneck)

Kino 3/2002


Karamuk is a coming-of-age story about a chubby teenage girl who finds the way to a selfdetermined

life against all adverse circumstances. Her mother and teachers want her to

finish school, but her unusual drawing and sewing talent and her urge to become a fashion

designer draw her to Paris.

While looking for a sponsor for her design career, she finds out that her real father is

Turkish and owns a restaurant in Cologne. She is then confronted with the Turkish way of

life and has to realize that her Turkish half-sister is living in harmony with her family. Just the

sort of life she has always been longing for …

Scene from ”Karamuk“ (photo © WDR)

Genre Coming-of-Age Story Category

Feature Film Cinema Year of Production

2002 Director Suelbiye Guenar Screenplay

Suelbiye Guenar, Grit Neuber Director of

Photography Peter Przybylski Editor Dora

Vajda Music by Neil Black Production

Design Frank Polosek Producers Sonja

Goslicki, Anke Scheib Production Company

Colonia Media Filmproduktion, Cologne, in coproduction

with WDR, Cologne Principal

Cast Klaus J. Behrendt, Helga Goering, Anne

Kasprik, Julia Mahnecke, Adnan Maral Length

93 min, 2,544 m Format 35 mm, color, cs

Original Version German Sound Technology

Dolby SR With backing from

Filmstiftung NRW German Distributor

Colonia Media Filmproduktion GmbH, Cologne

Suelbiye Guenar was born in 1973 in

Stuttgart. After her schooling, she studied

Piano at the Academy of Music in Stuttgart,

followed by studies in Production, Direction

and Screenwriting at the German Film &

Television Academy (dffb) in Berlin from

1995-2000. She has worked as an assistant

director for various German production

companies, in addition to scriptwriting and

freelance casting work. Karamuk (2002)

is her first feature film. She is currently

planning and preparing her next feature

Saniye’s Pleasure.

World Sales: please contact

Colonia Media Filmproduktion GmbH · Anke Scheib

Moltkestrasse 131 · 50674 Cologne/Germany

phone +49-2 21-9 51 40 40 · fax +49-2 21-9 51 40 44

email: coloniamedia@coloniamedia.de · www.coloniamedia.de

Kino 3/2002


Der Kuss des Baeren



She was 14. She flew on a trapeze and danced with a bear. He was the bear … a

shape-shifter who could transform himself into a young man, moving between two


One day he asked her: ”Do you want me, or do you want your bear?“

”I want both of you,“ she replied, kissing him.

For a while they were happy together. Until he killed a man to protect her …

Genre Drama Category Feature Film Cinema Year of

Production 2002 Director Sergei Bodrov Screenplay

Sergei Bodrov, Carolyn Cavallero Director of Photography

Xavier Perez Grobet Editor Mette Zeruneith

Music by SIG, Giya Kancheli Production Design Bernd

Lepel Producers Karl Baumgartner, Sergei Bodrov,

Christoph Friedel Production Company Pandora

Filmproduktion, Cologne, in co-production with Tornasol

Films, Madrid, Memfis Film, Stockholm, Film I Vaest,

Trollhaettan, Film Company CTB, St. Petersburg,

Orsans/Pyramide, Paris, Alia Film, Rome, in association with

ZDF, Mainz, ARTE, Strasbourg, Tele+, Rome, ARTE France

Cinéma, Paris, VCC Perfect Pictures, Hamburg, Boje Buck

Film, Berlin Principal Cast Rebecka Liljeberg, Joachim Król,

Sergei Bodrov, Jr., Keith Allen, Maurizio Donadoni, Ariadna

Gil, Silvio Orlando, Marcella Musso, Anne-Marie Pisani

Casting Susie Figgis, Beatrice Krueger, Puce, Heta

Mantscheff Special Effects VCC Perfect Pictures,

Hamburg Studio Shooting VCC Perfect Pictures,

Hamburg Length 92 min, 2,517 m Format 35 mm, color,

1:1.85 Original Version English Subtitled Version

Italian Sound Technology Dolby Digital EX

International Festival Screenings Venice 2002 (in

competition) With backing from FilmFoerderung

Hamburg, Filmstiftung NRW, Filmfoerderungsanstalt (FFA),

CNC, Eurimages, MEDIA II, Via Digital

World Sales:

Fortissimo Film Sales · Esther Bannenberg

Cruquiusweg 40 · 1019 AT Amsterdam/The Netherlands

phone +31-20-6 27 32 15 · fax +31-20-6 26 11 55

email: info@fortissimo.nl · www.fortissimofilms.com

Sergei Bodrov was born in 1948 in Russia. He studied at

the Russian film school VGIK, and began his directing career

at the Kazakhfilm Studio in Almaty, where he helped to nurture

the ’new wave’ in Kazakh cinema. From 1991-1992, he

taught at the Moscow State Film Institute; he has since been

a guest professor at UCLA, the University of New Orleans,

East Hampton College and the University of Hamburg. The

first international retrospective of his work was held at the

Toronto Film Festival in 1993; this was followed by tributes

at the festivals in Thessaloniki (1996) and La Rochelle

(1997) and at the Los Angeles County Museum (1997).

Aside from writing the scripts for his own films, he has

written or collaborated on more than twenty films for

other directors in Russia, France, Germany and the USA –

including most recently Regis Wargnier’s East-West (1999),

an Academy Award-nominee for Best Foreign Film. He was

named European Screenwriter of the Year in 1996. He now

divides his time between Russia and the USA. A selection of

his award-winning films includes: Sweet Juice of the

Grass (1984), Non-Professionals (1985), I Hate

You (TV, 1986), Freedom is Paradise (1989),

Gambler (1990), White King, Red Queen (1992), I

Wanted to See Angels (1992), Prisoner of the

Mountains (1996), Running Free (2000), The

Quickie (2001), and Bear’s Kiss (Der Kuss des

Baeren, 2002).

Rebecka Liljeberg (photo © Pandora Films/Fortissimo Film Sales)



Kino 3/2002

Mein erstes Wunder MY FIRST MIRACLE

During holidays on the North Sea coast, Dole meets Hermann and they become very close

friends. But this is no ordinary friendship. Dole is eleven years old and Hermann is more than

thirty years her senior, married, with children.

Back home, both live near Mannheim, they see each other quite often. One day though, Dole’s

mother decides to move to France, but Dole has her own ideas. A short while later Hermann

answers a knock at the door to find Dole standing on his front step – she’s decided to run away

with him – and he goes with her. Pursued by Dole’s mother and Hermann’s wife, their journey

becomes a wild goose chase and brings them full circle, ending where it all began, at the coast.

But since their first encounter, a few things have changed: Dole has grown up, Hermann hasn’t.

Henriette Confurius (photo © Jost Hering Film)

Genre Coming-of-Age Story, Drama Category

Feature Film Cinema Year of Production 2001

Director/Screenplay Anne Wild Director of

Photography Wojciech Szepel Editor Dagmar

Lichius Music by Maurus Ronner Production

Design Martina Bruenner Producer Jost Hering

Production Company Jost Hering Film, Berlin

Principal Cast Juliane Koehler, Leonard Lansink,

Henriette Confurius, Gabriela Maria Schmeide

Casting Andrew Hood Length 90 min, 2,565 m

Format Super 16 mm Blow-up 35 mm, color,

1:1.66 Original Version German Subtitled

Versions English, French Sound Technology

Dolby Stereo International Festival Screenings

Munich 2002, Montreal 2002 (in competition)

With backing from MFG Baden-Wuerttemberg,

Filmboard Berlin-Brandenburg, Kuratorium junger

deutscher Film, Filmfoerderung Mecklenburg-Vorpommern

World Sales: please contact

Jost Hering Filmproduktion · Jost Hering

Winterfeldtstrasse 31 · 10781 Berlin/Germany

phone +49-30-21 75 68 56 · fax +49-30-21 75 68 58

email: josthering@aol.com · www.josthering.de · www.meinersteswunder.de

Kino 3/2002

Anne Wild was born in 1967 in Bielefeld. She studied

German Literature, Philosophy and Art History at the

University of Freiburg from 1986-1988, followed by

Acting studies from 1988-1992 at the Academy of Music

and Applied Arts in Stuttgart. In 1994, she worked in

New York as a production assistant for advertisements,

music videos and feature films. She has also done text

writing for advertising agencies in Hamburg and Berlin,

and has participated in numerous screenplay seminars

including the Master School Seminar with Don Bohlinger

and the éQuinoxe Program, as well as the European Film

Academy’s directing seminar ”Ways of Seeing Actors“.

In 1999, together with Stefan Daehnert, she received the

first Baden-Wuerttemberg Script Prize for What to do in

case of fire? (Was tun, wenn’s brennt, 2001). Her other

films include the shorts Nachmittag in Siedlisko

(2000) and Ballet was Canceled (Ballett ist

ausgefallen, 2001) and her feature debut My First

Miracle (Mein erstes Wunder, 2001).




Mein kleines Kind



Ultrasound examination during the 21st week of pregnancy – diagnosis: ”complex defect syndrome,

suspected chromosome anomaly. Because of the many defects in different organ systems, the prognosis

must be described as very poor.“ ”You must decide!“ the specialist in prenatal diagnostics tells me.

”In such a case, immediate abortion is the usual solution.“

This autobiographical documentary is devoted to life, birth and taking leave of my little son, Martin Tim,

to personal questions and developments arising from being confronted with the tragic diagnosis and the

resulting demands requiring me to decide about the duration of life and about the conditions of death

of one of my four children.

Sitting face to face with the doctor, the idea to this film appears almost as a reflex. Sort of self-defense.

Documentation as evidence, where orientation threatens to get lost in the inner chaos. The need to not

keep this decision to myself forever, but to publish what normally would only take place in the silence

of privacy.

From my working experience as a midwife, I know that the decision against her own child might accompany

a mother a lifelong as a dark shadow. Aside from the protection of her health, which is provided

for by law, there is also an unspoken message toward the possibility to choose between life and death: If

you fail at the unpredictable tasks, which your unborn sick child puts to you – it’s considered to be your

own fault. Katja Baumgarten (midwife and filmmaker)

Genre Drama, Experimental, Family, Women’s Film

Category Documentary TV Year of Production 2001

Director Katja Baumgarten Screenplay Katja Baumgarten

Director of Photography Gisela Tuchtenhagen Editor

Katja Baumgarten Production Company viktoria11.de,

Hanover Length 88 min, 2,600 m Format Digital Video

Blow-up 35 mm, color, 1:1.66 Original Version German

Subtitled Version English Sound Technology Dolby

SR International Festival Screenings Berlin 2002

(Perspectives German Cinema), Documentary Film Festival

Munich 2002 (in competition), Documentary Film Festival

Paernu 2002 With backing from Dorothea-Erxleben-

Program, Filmfoerderung des Landes Niedersachsen,

Kulturamt der Stadt Hannover, Nordmedia German

Distributor viktoria11.de, Hanover

Katja Baumgarten was born in 1959 in Hanover.

She passed her examination in midwifery in 1981 and has

been working as a freelance midwife in Hanover since

1983. From 1983-1992, she studied Painting and

Sculpture in Hanover, followed by Film studies from

1992-1996 at the Academy of Fine Arts (HBK) in

Braunschweig, where she now works and teaches in the

documentary film faculty. Her films include: Grossvater

– wo komm’ ich her, wo geh’ ich hin

(TV, 1992), Fast schon als Eindringling (TV,

1993), Mutterland (1993), Monika Hauser -

Frauenaertzin in Zenica und Koeln (TV, 1995),

Wie habt ihr das alle geschafft (1997-2001), and

My Little One (Mein kleines Kind, 2001)

World Sales:

viktoria11.de · Katja Baumgarten

Viktoriastrasse 11 · 30451 Hanover/Germany

phone +49-5 11- 45 00 11 00 · fax +49-5 11-45 00 11 01

email: film@viktoria11.de · www.viktoria11.de · www.meinkleineskind.de

Martin Tim Baumgarten (photo © viktoria11.de)

Kino 3/2002


Emilia and Felix, Annette and Boris, and Charlotte and Dylan have been close friends for years.

But the good old days are long gone. Emilia and Felix have recently broken up and are still going

through the pangs of separation. Felix is financially strapped, whereas Dylan’s overnight success on the

stock market has made him and his beautiful wife, Charlotte, fabulously rich, though definitely not any

happier. Annette and Boris seem happy enough at first glance – but are they really?

And what is happiness anyway? What is love? How do men and women cope with each others’

dreams and dashed hopes? How do they communicate their deepest desires? Just what is it all about?

One night, a high stakes, spur-of-the-moment wager – whether two of the couples, blindfolded, can

pick out their respective naked partners using only their hands – teaches them all more than they ever

wanted to know about pheromones, the sense of touch, and what’s aching to get out of those jeans.

Being naked is more than just taking your clothes off.

Scene from ”Naked“ (photo © Constantin Film)

Genre Comedy Category Feature Film Cinema

Year of Production 2002 Director Doris

Doerrie Screenplay Doris Doerrie Director of

Photography Frank Griebe Editor Inez Regnier

Music by Liquid Loop Production Design

Bernd Lepel Producer Norbert Preuss

Production Companies Constantin Film

Produktion, Munich, Fanes Film, Munich, in coproduction

with Megaherz TV Film & Fernsehen,

Munich Principal Cast Heike Makatsch, Benno

Fuermann, Alexandra Maria Lara, Juergen Vogel,

Nina Hoss, Mehmet Kurtulus Casting Nessie

Nesslauer Length 98 min, 2,681 m Format

35 mm, color, cs Original Version German

Subtitled Versions English, French, Italian

Sound Technology Dolby SRD International

Festival Screenings Venice 2002

(in competition) With backing from Film-

FernsehFonds Bayern, Filmfoerderungsanstalt (FFA),

BKM German Distributor Constantin Film

Verleih GmbH, Munich

Doris Doerrie was born in 1955 in Hanover.

After studying Acting, Philosophy and Psychology in

the USA, she studied at the Academy of Television &

Film (HFF/M) in Munich, where she is also an

instructor today. In addition to directing, she is a

celebrated writer of novels, short stories and children’s

books. In 2001, she directed the opera Cosi fan

tutte at the State Opera in Berlin, and is planning a

further opera production, Turandot, in 2003. Her

prize-winning films include: Straight Through

the Heart (Mitten ins Herz, 1983), Inside

the Belly of the Whale (Im Innern des

Wals, 1984), Men (Maenner, 1985), Paradise

(Paradies, 1986), Me and Him (Ich und er,

1988), Money (Geld, 1989), Happy Birthday!

(Happy Birthday, Tuerke!, 1992), Nobody

Loves Me (Keiner liebt mich, 1994), Am I

Beautiful? (Bin ich schoen?, 1998), Enlightenment

Guaranteed (Erleuchtung garantiert,

2000), Nackt (”Naked“, 2002), based on

her novel Happy, and many more.

World Sales:

Cinepool – A Dept. of Telepool Europaeisches Fernsehprogramm

Dr. Cathy Rohnke, Wolfram Skowronnek

Sonnenstrasse 21 · 80331 Munich/Germany

phone +49-89-55 87 60 · fax +49-89-55 87 62 29

email: cinepool@telepool.de · www.telepool.de

Kino 3/2002






Pigs Will Fly

Pigs Will Fly tells the story of a wife-batterer, Laxe, who, facing a possible

prison sentence in his home town Berlin, flees to San Francisco, where his

brother Walter has been living for over ten years. Their reunion awakens

memories of their violent childhood and brings the batterer to a new awareness

of his own deeds. A new relationship with a girl, Inga, in San Francisco

will become the ultimate test for him.

Genre Drama Category Feature Film Cinema

Year of Production 2002 Director Eoin

Moore Screenplay Eoin Moore, Nadya Derado

Director of Photography Bernd Loehr

Editors Oliver Gieth, Eoin Moore Music by

Warner Poland, Kai-Uwe Kohlschmidt, Chris

Whitley Producers Sigrid Hoerner, Anne Leppin,

Eoin Moore Production Company Workshop

Leppin Moore Hoerner, Berlin, in cooperation with

ZDF, Mainz Principal Cast Andreas Schmidt,

Thomas Morris, Laura Tonke, Kirsten Block, Alexis

Lezin, Udo Kier, Hans Peter Hallwachs, Heike

Schober, Michael Kind, Steffen Muenster, Stefan

Lochau Length 102 min, 2,806 m Format

Digital Video Blow-up 35 mm, color, 1:1.85

Original Version German/English Subtitled

Versions English, German, Spanish Sound

Technology Dolby SR International

Festival Screenings San Sebastian 2002 (in

competition) With backing from Filmboard


World Sales:

Peppermint GmbH · Michael Knobloch

Rauchstrasse 9-11 · 81679 Munich/Germany

phone +49-89-98 24 70 80 · fax +49-89-9 82 47 08 11

email: mail@seepeppermint.com · www.seepeppermint.com

Andreas Schmidt, Laura Tonke, Thomas Morris (photo © Eoin Moore)

Eoin Moore was born in 1968 in Dublin/Ireland.

He studied at the German Film & Television

Academy Berlin (dffb) and has worked as a soundman

and cameraman. He graduated from the dffb

in 1998 with Break Even (Plus-Minus

Null), which picked up four major awards at international

festivals and was shown at over 40 festivals

in 25 countries. His other films include: Child

of Light (documentary, 1992), Loops of

Infinity (short, 1994, Storm Rising (short,

1995), Neuneinhalb Minuten (short, 1996),

Conamara (2000), Why Don’t We Do It in

the Road? (Verkehrsinsel, 2001) from the

Erotic Tales series, and Pigs Will Fly (2002).



Kino 3/2002


Jesko is in his mid-thirties and is a born cynic. He has leukemia and not much longer to

live. An unsuccessful fashion designer, he is the opposite of his brother, Ansgar, who is

the junior boss in their father’s factory. Jesko is lured to his bourgeois family’s villa under

a false pretense – his life is to be saved. His mother is a possible bone marrow donor –

but Jesko refuses her help because years ago, she attempted to kill him and his brother.

Jesko and his mother have not seen each other since then.

A partly bizarre and tragic family feud unravels around dark secrets, psychic devastation

and the horrible feeling of insoluble solidarity. A battle into which Jesko is ultimately

drawn – to find love.

Juergen Vogel (photo © av communication AG)

Genre Drama, Literature Category Feature Film

Cinema Year of Production 2002 Director

Chris Kraus Screenplay Chris Kraus Director of

Photography Judith Kaufmann Editor Renate

Merck Music by Jan Tilmann Schade Production

Design Silke Buhr Producer Norbert W. Daldrop

Executive Producer Joseph Rau Creative

Producer Monika Kintner Production Company

av communication, Ludwigsburg, in cooperation

with SWR, Baden-Baden, ARTE, Strasbourg, BR,

Munich Principal Cast Juergen Vogel, Margit

Carstensen, Nadja Uhl, Peter Davor, Dietrich

Hollinderbaeumer, Andrea Sawatzki, Roxanne Borski

Length 100 min, 2,736 m Format Super 16 mm

Blow-up 35 mm, color, 1:1.85 Original Version

German Subtitled Versions English, French (both

DigiBeta only), Spanish Sound Technology Dolby

SR International Festival Screenings Munich

2002, San Sebastian 2002 (Zabaltegi) International

Awards German Film Promotion Award for Best

Screenplay Munich 2002 With backing from

MFG Baden-Wuerttemberg

Chris Kraus was born in 1963 in Goettingen.

After employment as a journalist and illustrator, he

went on to study at the German Film & Television

Academy (dffb) in Berlin. As an author he has

written, among other things, film scripts for Rosa

von Praunheim’s The Einstein of Sex (Der Einstein

des Sex), and Detlev Buck’s A Bundle of Joy

(Liebesluder), as well as scripts for numerous TV

series and commissioned productions. He is also

an editor and novelist and teaches dramaturgy at

various film academies. Scherbentanz

(2002) marks his directing debut of a full-length

feature film.

World Sales: please contact

av communication AG · Joseph Rau

Koenigsallee 57 · 71638 Ludwigsburg/Germany

phone +49-71 41-1 47 72 30 · fax +49-71 41-1 47 72 82

email: scherbentanz@avcommunication.de · www.scherbentanz.de

Kino 3/2002





September Song

Los Angeles, autumn 2001. The attack on America happened two weeks ago. The German composer

Valentin Reiner receives a letter from his ex-wife Anna, who now lives in Los Angeles with their

18-year-old son Stefan. In her letter, Anna asks Valentin to come and help her with their son. Stefan

is engaged to Leila, a young Muslim woman from Palestine, who is three months pregnant with his

baby. They live with Anna and Judge Boccia, who hates black Muslims. Stefan and Leila hate Jews.

Together with his buddy Riff Mason, Stefan terrorizes the Jewish community with home invasions,

where they paint swastikas on the houses and leave fake anthrax letters.

When Valentin arrives in Los Angeles, he ”befriends“ himself with Stefan’s group, and later becomes a

member of ”Hate Anonymous“, another group hosted by Stefan’s neighbors. He realizes everyone

hates someone or something and he decides to shake things up. He tells them that his grandmother

was Jewish and that Judge Boccia has black ancestors.

It’s the beginning of an emotional war; a war that is about to question the spirit, renew the soul and

sacrifice the body; a war between the power of truth and the might of illusion. And everyone is

confronted with two questions: Who do you love and who do you hate?

Genre Art, Drama Category Feature Film

Cinema Year of Production 2002 Director

Ulli Lommel Screenplay Ulli Lommel Director

of Photography Juerg Victor Walther Editor

Christa Pohland Music by Svend Lerche,

Johannes Stole Production Design Min. S.

Lee Producers Jason Pohland, Georges C.

Chamchoum Production Company Modern

Art Film-Pohland, Berlin Principal Cast Ulli

Lommel, Rene Heger, Katrin Schaake, Guenter

Ziegler, Gene Richards, Rudolf W. Brem, Regina

Tamba, H. Washington Length 86 min, 2,353 m

Format 35 mm, color, 1:1.85 Original

Version German/English Sound Technology

Stereo German Distributor Standard Film,


World Sales:

Transit Film GmbH · Loy W. Arnold, Mark Gruenthal

Dachauer Strasse 35 · 80335 Munich/Germany

phone +49-89-5 99 88 50 · fax 49-89-59 98 85 20

email: transitfilm@compuserve.com · www.transitfilm.de

Ulli Lommel was born in 1944 in Berlin. A director and

an actor, he has been working in the USA since 1978. As an

actor, he has been in 33 films, including 11 by Rainer Werner

Fassbinder, who also produced two of Lommel’s own films,

Tenderness of the Wolves (Zaertlichkeit der

Woelfe, 1973) and Adolf and Marlene (1977). In

1975, he met the German producer Jason Pohland

and directed for him Second Spring (Der zweite

Fruehling, 1975) with Curd Juergens, and Ausgerechnet

Bananen (1980), a comedy starring Anna

Karina. Later Pohland introduced him to Andy Warhol.

Lommel then stayed in New York and Los Angeles and

directed Blank Generation (1979), The Boogeyman

(1980), Olivia (1981), and Brainwaves (1982). He

worked together with Pohland on Heaven and Earth

(1987), Smile in the Dark (1991), Eva Braun –

Home Movies (1996), Death Before Sunrise (1996),

and September Song (2002), among others.

Ulli Lommel (photo © Loy Arnold/Transit Film)

Kino 3/2002


Italy in the 1960s. One day Romano and Rosa, the parents of Gigi and Giancarlo, two

young brothers, decide to leave their sun-drenched home in Apulia and move to

Germany. In the grey industrial rust-belt they soon open the first pizza parlor of the

neighborhood, adding a little spice to the local restaurant scene. While Romano is

completely wrapped up in his role as restaurant owner, his wife Rosa, even after many

years, continues to suffer from incurable homesickness.

And Gigi and Giancarlo? The two brothers make their own experiences with their newfound

freedom, with music, and with their first joint. But they will become rivals in their

quest for love and success – and each of them wants to be the first to answer the big

question: What is really important in life?

Scene from ”Solino“ (photo © X Verleih)

Genre Drama Category Feature Film Cinema

Year of Production 2002 Director Fatih Akin

Screenplay Ruth Toma Director of Photography

Rainer Klausmann Editor Andrew Bird Music

by Jannos Eolou Production Design Bettina Schmidt

Producers Ralph Schwingel, Stefan Schubert, Hejo

Emons Co-Producers Michael Weber, Ute Kraemer,

Claudia Schroeder Production Companies Wueste

Film West, Cologne, Wueste Filmproduktion,

Hamburg, in co-production with Bavaria Film, Munich,

Multimedia Film- und Fernsehproduktion, Munich, in

cooperation with WDR, Cologne, ARTE, Strasbourg

Principal Cast Barnaby Metschurat, Moritz Bleibtreu,

Antonella Attili, Gigi Savoia, Tiziana Lodato, Patrycia

Ziolkowska, Hermann Lause, Vincent Schiavelli Length

124 min, 3,425 m Format 35 mm, color, 1:1.85

Original Version German/Italian Subtitled

Version English Sound Technology Dolby Digital

With backing from Filmstiftung NRW,

FilmFoerderung Hamburg, Filmfoerderungsanstalt (FFA),

MEDIA German Distributor X Verleih AG, Berlin

Fatih Akin was born in 1973 in Hamburg of

Turkish parentage. He began studying Visual

Communications at Hamburg’s College of Fine

Arts in 1994. His collaboration with Wueste Film

also dates from this time. In 1995, he wrote and

directed his first short feature, Sensin – You’re

The One! (Sensin – Du bist es!), which

received the Audience Award at the Hamburg

International Short Film Festival. His second short

film, Weed (Getuerkt, 1996), received several

national and international festival prizes. His first

full-length feature film, Short Sharp Shock

(Kurz und schmerzlos, 1998) won the Bronze

Leopard at Locarno and the Bavarian Film Award

(Best Young Director) in 1998. His other films

include: In July (Im Juli, 2000), Wir haben

vergessen zurueckzukehren (2001), and

Solino (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 · www.bavaria-film-international.de

Kino 3/2002




Sophie is pregnant, but doesn’t know who the child’s father is. In the night before

her abortion appointment, she steals her boyfriend’s motorcycle and races through

town with suicidal intention. After surviving that, to her surprise, she steps on the gas

even more: straight as an arrow and with the impact of a falling rock, desperately

seeking to find out just what it is she really wants. She finally makes her decision, but

the brakes fail at the last minute …

Genre Coming-of-Age Story, Drama Category

Feature Film Cinema Year of Production

2002 Director Michael Hofmann Screenplay

Michael Hofmann Director of Photography

Christopher Rowe Editor Martina Matuschewski

Production Design Guido Amin Fahim

Producers Cordula Kablitz-Post, Mark Glaeser

Production Companies Avanti Media Fiction,

Berlin, Spiel Film, Berlin, in co-production with

Neue Impuls Film Produktion, Hamburg, SWR,

Baden-Baden Principal Cast Katharina

Schuettler, Alexander Beyer, Robert Stadlober,

Josef Ostendorf, Gerd Wameling, Traugott Buhre,

Ercan Durmaz Length 107 min, 2,923 m

Format DV Cam Blow-up 35 mm, color,

1:1.85 Original Version German Subtitled

Versions English, French Sound Technology

Dolby SR International Festival

Screenings Munich 2002, Locarno 2002 (in

competition), Montreal 2002* (World Greats)

International Awards German Film Promotion

Award for Best Direction & Best Actress Munich

2002 With backing from FilmFoerderung


Michael Hofmann was born in 1961. He

worked as a designer and director for the

LINTAS ad agency from 1988-1990 before

becoming a freelance writer and director in

1991. He received a grant to attend the Munich

Script Workshop in 1994 and made his feature

film debut in 1998 with Der Strand von

Trouville after directing several shorts and

penning a number of screenplays. His other

films include: Kleine Fische (short, 1988),

An ganz normalen Tagen geschehen

Dinge wie diese (short, 1991), The Tale

of the Girl and the Bear (short, 1992),

Lunapark (short, 1993), Fleischgerichte,

buergerlich (short, 1993), Big Eyes

(documentary, 1993), Sex & Drugs (short,

1994), and Sophiiiie! (2002).

World Sales: please contact

Avanti Media Fiction GmbH Film und Fernsehproduktion · Cordula Kablitz-Post

Gneisenaustrasse 44/45 · 10961 Berlin/Germany

phone +49-30-2 64 61 34 · fax +49-30-2 64 61 36

email: avanti@avantimedia.com · www.avantimedia.com * tbc

Robert Stadlober, Katharina Schuettler (photo © Avanti Media Fiction)



Kino 3/2002


Marco and Melanie, a young married couple, are living a life of passion, chaos,

and all the little frustrations of everyday existence. Their love for each other

seems like a beacon on heavy seas. But career pressure, burned toast, and dirty

laundry are eroding all tenderness, and they never seem to find enough time

for their six-year-old son, Benny, either. Their world is about to fall apart when

Melanie moves out, taking Benny with her. She files for divorce, and Marco

makes a decision that is not only going to change his own life. In some peculiar

way, he suddenly discovers his love of fatherhood …

Scene from ”I’m the Father” (photo © X Verleih)

Genre Drama Category Feature Film Cinema

Year of Production 2002 Director Dani Levy

Screenplay Rona Munro, Dani Levy Director of

Photography Carsten Thiele Editor Elena

Bromund Music by Niki Reiser Production

Design Christian Eisele Producer Manuela Stehr

Production Company X Filme Creative Pool,

Berlin Principal Cast Sebastian Blomberg, Maria

Schrader, Ezra-Valentin Lenz, Christiane Paul, Ulrich

Noethen Length 98 min, 2,805 m Format 35 mm,

color, cs Original Version German Subtitled

Version English Sound Technology Dolby Digital

International Festival Screenings Munich

2002, Montreal 2002 (in competition) With backing

from Filmfoerderungsanstalt (FFA), BKM German

Distributor X Verleih AG, Berlin

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

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

Kino 3/2002

Dani Levy was born in 1957 in Basel/Switzerland.

From 1977-1979, he was in the ensemble of the Basel

Theater and was a member of Berlin's Rote Gruetze

Theater from 1980-1983. His films include: Du mich

auch (1985), RobbyKallePaul (1988), Abgeschleppt

(TV, 1990), I Was on Mars (1991),

Ohne Mich (1993, an episode of the omnibus film

Neues Deutschland), Silent Night (Stille

Nacht, 1995), The Giraffe (Meschugge, 1998),

and I’m the Father (Vaeter, 2002).

He has been awarded various international prizes

including the FIPRESCI Critics’ Award at San Sebastian

for I Was on Mars and the Hypo Bank Young

Director’s Award for Ohne Mich at the Filmfest

Munich in 1993. He has also appeared as an actor in

various feature and TV films.





Das Verlangen



The Longing tells the story of Lena, a minister’s wife delivered from the bleak prison of her

marriage through her forbidden and quietly burgeoning love for Paul.

Set in a dreary village in the Swabian-Franconian forest, the seemingly reserved Lena lives with her

tyrant of a husband, Johannes, in a loveless marriage. Johannes is the village’s spiritual leader and

Lena is his faithful, ever-willing-to-serve wife. Lena’s daily life is characterized by grinding monotony,

a life narrowly circumscribed by nursing, organ playing and the duties of the marriage bed.

The mysterious murder of a village girl suddenly knocks this humdrum existence off its tracks.

In the wake of these events, Lena discovers the affection and tenderness for which she has always

longed in Paul, the village mechanic. This encounter is the start of an emancipation that leads

her to guard Paul’s secret regarding the girl’s murder, for fear of losing her newly won piece of

happiness. In turn it means she has to remain silent, as she has always done in her many years

of marriage. This love ultimately turns Lena herself into a fallen angel.

Genre Drama Category Feature Film Cinema Year of

Production 2002 Director Iain Dilthey Screenplay

Iain Dilthey, Silke Parzich Director of Photography

Justus Pankau Editors Barbara Hoffmann, Claudia

Gladziejewski (BR), Saskia von Sanden (SWR) Music by

Johannes Kobilke Production Design Eva Stiebler

Producer Till Schmerbeck Production Company

Filmakademie Baden-Wuerttemberg, Ludwigsburg, in coproduction

with BR, Munich, SWR, Stuttgart, Artus

Postproduktion, Ludwigsburg, Samples + Frames, Berlin,

Tag/Traum Filmproduktion, Cologne Principal Cast

Susanne-Marie Wrage, Klaus Gruenberg, Robert Lohr,

Manfred Kranich, Heidemarie Rohweder, Eva Loebau,

Sigrid Skoetz, Wolfgang Packhaeuser, Peter Lerchbaumer

Length 90 min, 2,642 m Format Super 16 mm Blowup

35 mm, color, 1:1.66 Original Version German

Subtitled Version English Sound Technology

Dolby SR International Festival Screenings Munich

2002, Locarno 2002 (in competition) International

Awards Script Prize Baden-Wuerttemberg 2002

World Sales: please contact

Filmakademie Baden-Wuerttemberg · Dr. Arthur Hofer

Mathildenstrasse 20 · 71638 Ludwigsburg/Germany

phone +49-71 41-96 91 02 · fax +49-71 41-96 92 92

email: arthur.hofer@filmakademie.de · www.filmakademie.de

Iain Dilthey was born in 1971 in Scotland.

From 1992-1997, he studied Chemistry and

Pharmaceutics in Marburg and Mainz, followed

by work as a scriptwriter and director’s and

production assistant on various television

programs, reports and short films. He began

studying Directing in 1997 at the Film Academy

Baden-Wuerttemberg in Ludwigsburg. His other

films include: the shorts Es war einmal ein

Kind (1995), Gegen die Stille (1996),

Bergpredigt (1998), Joseph 98 (1998),

Partisanen! (1999), Sommer auf

Horlachen (1999), the feature I’ll Wait on

You Hand and Foot (Ich werde Dich

auf Haenden tragen, 2000), and his

graduation film The Longing (Das

Verlangen, 2002).

Susanne-Marie Wrage



Kino 3/2002

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

Kino 3/2002

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

email: mail@vdfe.de, www.vdfe.de


Große Praesidentenstrasse 9, 10178 Berlin/Germany

phone +49-30-27 57 70, fax +49-30-27 57 71 11

email: presse@ffa.de, www.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-online.de



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 · email: mail@vdfe.de · www.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: cinepool@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 3/2002

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. €3.1

million (including projects, administration, foreign representatives)

comes from export levies, 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 €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;

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;

Organization of the annual ”Next Generation“ short film

program, which presents an array of shorts by students of

German film schools and is premiered every year at Cannes.

The focus of the work: feature films, documentaries with

theatrical potential and shorts that have been invited to the main

sections of major festivals.

Foreign Representatives


Dipl. Ing. Gustav Wilhelmi

Ayacucho 496 · 2º "3"

C1026AAA 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

F-94250 Gentilly

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

I-00187 Rome

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

E-28012 Madrid

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

GB-London WC2H ODT

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, Dr. Oliver Castendyk, Simon Kingsley,

Hagen Liebig, Prof. Lothar Mikos, Veronika Rall

Simon Kingsley, Lucinda Rennison

triptychon · agentur fuer 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 3/2002

German Film Award

… and the winners are:


Nirgendwo in Afrika

Nowhere in Africa

by Caroline Link (Gold)

Halbe Treppe

Grill Point

by Andreas Dresen (Silver)


by Tom Tykwer (Silver)


Black Box BRD

by Andres Veiel


Das Sams

The Slurb

by Ben Verbong


Caroline Link

for Nirgendwo in Afrika

Nowhere in Africa


Martina Gedeck

in Bella Martha


Daniel Bruehl

in Nichts Bereuen No Regrets,

Das Weisse Rauschen The White Sound

and Vaya Con Dios


Eva Mattes

in Das Sams

The Slurb


Matthias Habich

in Nirgendwo in Afrika

Nowhere in Africa


for Script, Production, Direction and Actor in a Double-Role

Michael ”Bully“ Herbig

for Der Schuh des Manitu

Manitou’s Shoe


Der Schuh des Manitu

Manitou’s Shoe


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

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