EXPORT-UNION OF GERMAN CINEMA 2/2002

AT CANNES in Competition RUSSIAN ARK by Alexander Sokurov

in Un Certain Regard TEN MINUTES OLDER by Werner Herzog, Wim Wenders, et al

GERMAN FILM AWARD … and the nominees are …

SPECIAL REPORT Animation – Made in Germany Kino oduction) Charles Esten in Wim Wender’s episode of ”Ten Minutes Older“ episode of ”Ten Wender’s Wim Charles Esten in (an Odyssey Film London, Pr & Road Movies Matador Pictures

GERMAN CINEMA German Films IN THE

in Competition Russian Ark (Germany/Russia) by Alexander Sokurov

World Sales: Celluloid Dreams, Paris/France phone +33-1-49 70 03 70 fax +33-1-49 70 03 71

in Competition The Man Without a Past (Finland/Germany/France) by Aki Kaurismaeki

German co-producer: Pandora Film, Cologne/Germany phone +49-2 21-97 33 20 fax +49-2 21-97 33 29

World Sales: Bavaria Film International, Geiselgasteig/Germany phone +49-89-64 99 26 86 fax +49-89-64 99 37 20

in Competition The Pianist (Germany/France/Poland/United Kingdom) by Roman Polanski

German co-producer: Studio Babelsberg, Potsdam/Germany phone +49-3 31-7 21 30 01 fax +49-3 31-7 21 25 25

in Competition Sweet Sixteen (United Kingdom/Germany/Spain) by Ken Loach

German co-producer: Road Movies, Berlin/Germany phone +49-30-8 80 48 60 fax +49-30-88 04 86 11 OFFICIAL PROGRAM OF THE Cannes Festival

in Un Certain Regard Ten Minutes Older by By Aki Kaurismaeki, Víctor Erice, Werner Herzog, Jim Jarmusch, Wim Wenders, Spike Lee, Chen Kaige, et al

World Sales: Road Sales, Berlin/Germany phone +49-30-8 80 48 60 fax +49-30-88 04 86 11

in Directors’ Fortnight / En avant ! Phantom by Matthias Mueller

World Sales: Matthias Mueller, Bielefeld/Germany phone/fax +49-5 21-17 83 67

in Directors’ Fortnight Deux (France/Germany) by Werner Schroeter

German co-producer: Road Movies, Berlin/Germany phone +49-30-8 80 48 60 fax +49-30-88 04 86 11

(Credits not contractual) KINO 2/2002

6 Animation – Made in Germany 33 Der Laufbursche On the History and Current Situation of Yueksel Yavuz Animation Films in Germany 34 Nach Haus in die Fremde Andreas Kleinert 16 The Unbearable Lightness of Film 34 Olgas Sommer Director’s Portrait Andreas Dresen Nina Grosse 35 Die Paepstin Volker Schloendorff 17 ”I’m Interested in People Who 36 SimsalaGrimm – The Movie Cross Over Boundaries“ Gerhard Hahn Director’s Portrait Elfi Mikesch 36 Die Suenderin Sherry Hormann 37 Sugar Orange 20 Cinepool’s Dream Team Andreas Struck World Sales Portrait Cinepool

38 The 100 Most 22 Creating a Quality Brand Significant German Films (Part 5) Producers’ Portrait MTM Medien & Television Muenchen 38 Liebelei Max Ophuels 39 Wintergartenprogramm 24 KINO news Max Skladanowsky 40 Lola Montez Max Ophuels 30 In Production 41 Madame Dubarry PASSION 30 Der alte Affe Angst Ernst Lubitsch Oskar Roehler 30 Das fliegende Klassenzimmer Tomy Wigand 31 Gate to Heaven Veit Helmer 32 Gruesse aus Dachau! Bernd Fischer 32 Das Jesus Video Sebastian Niemann CONTENTS

42 New German Films

AT CA N N E S 42 Anansi AT CA N N E S 55 Suche impotenten Mann Fritz Baumann MARKET SCREENINGS MARKET SCREENINGS fuers Leben 43 Annas Sommer IN SEARCH OF AN IMPOTENT MAN AT CA N N E S ANNA’S SUMMER John Henderson MARKET SCREENINGS Jeanine Meerapfel 56 Ten Minutes Older 44 Berlin – Sinfonie AT CA N N E S Werner Herzog, Wim Wenders, et al einer Grossstadt UN CERTAIN REGARD AT CA N N E S 57 Verrueckt nach Paris BERLIN SYMPHONY CRAZY ABOUT PARIS MARKET SCREENINGS Thomas Schadt Pago Balke, Eike Besuden 45 Die Datsche 58 Westend HOME TRUTHS Markus Mischkowski, Kai Maria Steinkuehler Carsten Fiebeler 46 Dream Dream Dream Anne Alix 62 Film Exporters 47 Gold Cuts – eine poetische Reise durch die Gegensaetze GOLD CUTS – A POETIC TRAIL 66 Foreign Representatives THROUGH CONTRADICTION Ernst Handl, Team Gold Cuts 48 Grosse Maedchen weinen nicht 66 Imprint BIG GIRLS DON'T CRY Maria von Heland 49 Herz im Kopf

AT CA N N E S HEART OVER HEAD

MARKET SCREENINGS Michael Gutmann 50 Nichts Bereuen NO REGRETS AT CA N N E S Benjamin Quabeck MARKET SCREENINGS 51 Poem – ”Ich setzte den Fuss in die Luft, und sie trug“ POEM Ralf Schmerberg 52 Ein Produzent hat Seele oder er hat keine Volker Schloendorff 53 Russian Ark AT CA N N E S Alexander Sokurov IN COMPETITION 54 Sternzeichen ZODIAC SIGN Peter Patzak ”Ring of Hykade by Andreas Fire“

Key European Market Going back to the days of the silent movies, before the First World War, the first German animation films were made by If one wanted proof that the German animation industry has Julius Pinschewer (Corsets Gebr. Lewandowski, 1910) become a force to be reckoned with in Europe, this was and Guido Seeber (Die geheimnisvolle Streich- convincingly delivered last year when two of the industry’s holzdose, 1909/10). top international events – March’s CARTOON Movie and September’s CARTOON Forum – were both staged in In the 1920s, their involvement in abstract and dadaist art attrac- Germany. ted Walther Ruttmann (Der Sieger, 1921) and Hans Richter (Rhythmus series, 1921-1925) to make outings into In fact, it was the third time that the CARTOON Movie animation, but a unique figure from this time who built up an co-production market had assembled at the Babelsberg Studios unchallenged international reputation was the animator Lotte ANIMATION (returning for a fourth time this spring). And the Bavarian Reiniger, who became famous for her silhouette films created alpine town of Garmisch-Partenkirchen was the latest stop in from back-lit paper cut-outs. CARTOON Forum’s trail across Europe, which brought more than 700 delegates together for the pitching of projects for She made her first animation film in 1919 (The Ornament of animated TV series and web-based productions. the Lovestruck Heart/Das Ornament des verliebten Herzens) and animated a dream sequence for Fritz Lang’s The significance of the German animation sector was also brought 1924 epic Die Nibelungen, which was widely screened despite out by the fact that 240 of the delegates accredited at the Forum being removed from the completed version of the film. Reiniger’s were from Germany, including 60 potential investors, with classic The Adventures of Prince Achmed (Die German animation production outfits involved as lead producer in Abenteuer des Prinzen Achmed, 1926) – which was 18 of the market’s 88 projects. credited by some as being the first feature-length animation film – consisted of 250,000 single images and had a ”multi-plane“ cam- While France is still the leading center for the production of ani- era specially designed and built for the production. mation in Europe, Germany has now developed in a matter of only a few years into the second largest European market, with In addition to shooting experimental shorts and silhouette films production said to be worth US$130 million annually and new from the late 20s to the mid 1930s, Reiniger also contributed sil- animation studios popping up in some corner of the country houette sequences for such live-action features as Georg every month. Wilhelm Pabst’s Don Quixote (Don Quichotte, 1933) and Jean Renoir’s La Marseillaise (1937). In 1936, Long Tradition in Animation Reiniger emigrated with her husband to Great Britain where she lived and worked (Hansel & Gretel, 1955) – among other However, before we look at the current situation of the anima- things, for the Crown Film Unit and General Post Office Unit – tion industry in Germany, let’s have a brief glance back at some of until 1980 before returning to her native country a year before the past highlights in German animation. her death.

6 Kino 2/2002 Animation During the Third Reich

Any development of artistic dimensions to animation was nipped in the bud by the draconian measures of the Nazi regime from 1933 onwards even though there was a (failed) attempt in 1942 by the Film Ministry to establish an official Deutsche Zeichenfilm GmbH. The Film Ministry did command however the most distin- guished animators still in Germany to step up their production and concentrate on theatrically viable animation features. ”Hansel & Gretel“ by Lotte Reiniger ”Hansel & Gretel“ One figure working during the 30s was Wolfgang Kaskeline (Zwei Farben, 1933, and Der blaue Punkt, 1936), who, despite the general restriction of artistic freedom, was mainly active in the field of advertising and ran his own studios in Berlin and Bonn-Bad Godesberg after the war until his death in 1973.

Short animated commercials were the focus of the work at this time by the three Diehl brothers – Paul, Hermann and Ferdinand Diehl – who initially started in classical animation and silhouette films before moving into puppet animation when Another important figure was the avant-garde animator and paint- they set up their studio in Graefelfing, near Munich, in 1929. er Oskar Fischinger who co-owned an animation company in Their film work specialized on fables and fairytales, but their Munich by the age of 22 and produced a number of experimental greatest success was with the tales spun around the figure of films. In an attempt to combine his two passions of music and ”Mecki“ (1937) who captured children’s (and adults’) hearts the graphic arts, Fischinger experimented with photographing from the 1950s onwards and spawned a veritable flood of toys multiple forms – melting wax, cardboard cutouts, swirling liquids. and books, even to this day. Until 1970, the Diehls made more According to Fischinger historian William Moritz, he devised than 60 films – some combining puppet animation with live- ”a machine that would slice very thin layers from a prepared block action – and over 100 commercials. of wax, with a camera synchronized to take one frame of the remaining surface of the block. Any kind of image could be built Meanwhile, ”audience darling“ Hans Fischer – also known as into the wax block – a circle getting smaller would be a simple Fischerkoesen – directed and produced animated fairy tale cone, for example.“ fantasies -– such as Schall und Rauch (1933), Das blaue Wunder (1935) and Snowman (Der Schneemann, 1944) Fischinger worked at the UFA studios in Babelsberg on the – which some observers deemed could hold their own with the special effects for Fritz Lang’s silent science fiction film likes of Disney. As a result of Fischerkoesen’s success in adverti- Woman in the Moon (Frau im Mond) in 1928, and some sing films, Propaganda Minister Joseph Goebbels ordered him to of his shorts took the form of advertisements. Muratti Gets move his staff and studio from the Leipzig area to Potsdam to in the Act (Muratti greift ein, 1934), for example, was for make himself available for consultations and special effects on a popular cigarette company and had cigarettes marching in mad features and documentaries. goose-stepping formation – as a precursor to his later work with – MADE IN GERMANY Walt Disney on Fantasia (1940) where broomsticks did the marching in The Sorcerer’s Apprentice episode.

Fischinger’s pioneering use of multiple overlapping projected ima- ges and light shows alongside his abstract animation won him a following outside of Germany at film festivals around the world for bringing the last word in modernism. But the Nazis didn’t share the same enthusiasm declaring his work as ”degenerate“ in 1936. Forced to leave Germany, Fischinger created shorts

for Paramount and MGM, worked for a year at Disney on ”Capt’n Bluebear“ by Hayo Freitag Fantasia and at Orson Welles’ Mercury Theater on a project that was never realized. As Moritz notes, ”he was the only avant-garde filmmaker of the 20s who also continued his work in the 30s and 40s in his new home of Los Angeles and so helped to spur on the experimental film movement in America“.

Kino 2/2002 7 ANIMATION – MADE IN GERMANY

In the 1970s, Winzentsen and his first wife Ursula made many animation films for children’s television at NDR and WDR, continuing this work into the 1980s after their separation with such children’s films as Hin- und Rueckfahrt (1984/85) and Telefonfieber (1984/85), playing with the possibilities of the medium.

A previous film, Flamingo – Aus meinem Anima- tionstagebuch (1982), had seen Winzentsen – who has been serving as professor for animation at the Academy of Fine Arts in ”Konferenz der Tiere“ by Curt Linda der Tiere“ ”Konferenz Hamburg since 1987 – combining various animation techniques with photographs he had collected or taken. This approach was continued in a collaboration with Thomas Mitscherlich on the feature Der Fotograf (1990).

Doyen of German Animation: Disney Dominance Curt Linda After 1945, Germany was flooded with animated films from the US, particularly from Walt Disney. People who had just lived Back in 1969, the first German feature-length animation film was under 12 years of terror wanted to catch up on all of the plea- produced in color – Die Konferenz der Tiere – by Curt sures forbidden them by the Nazis and this included films from Linda who was awarded a Honorary German Film Award last year Hollywood. for his outstanding services to German cinema. ”I unfortunately didn’t invent any Mickey Mouse“ was what Curt Linda is As Albrecht Ade, founder of the internationally-renowned supposed to have said when asked why he hadn’t become as animation festival in Stuttgart, pointed out in an touring exhibition famous as his US colleague Disney. brochure of the new generation of animators in 1984, Disney et al then set the agenda for a long while regarding the audiences’ But generations of German children have been nevertheless tastes, and it was only in the second half of the 1960s that new enchanted by the magical figures coming from his Linda-Film efforts came from art academies and individual enthusiasts to give Produktion animation studio since its launch in December space once more to experimentation in animation and find new 1961 with such features as Shalom Pharao (1982), Harold forms of expressions and new audiences. und die Geister (1988, with live-action sequences), Das kleine Gespenst (1992) and Die kleine Zauberfloete In the fifties, animation in (West) Germany was – with a few (1998). exceptions – more about mannered style and perfect animation technique than the quality of the drawing and imagination in the ”What distinguished Linda’s works was not the conveyor belt dramaturgy. Any prospects for a continuity in the development of work of hundreds of animators or lots of computers, but the the animation sector withered away when the tax incentives for handicraft of a few possessed souls who pottered about in his cultural films (Kulturfilme)– and thus for animated shorts – were Munich studio between sketches, overflowing files and full shelves, abolished. For many years, animation was alive and well in between prizes, certificates and cluttered up desks“, the German Germany – but only in the world of advertising. Film Award organizers declared last year. Linda and his team wanted, above all, to offer an alternative to the “American style of over-dynamic movements and the mad hectic pace of the The Oberhauseners and Animation characters“ with imaginative stories, the soft and gentle approach and careful drawing. Often, more than 400,000 individual draw- In February 1962, a group of young filmmakers signed the ings were needed for just one 90-minute film. Oberhausen Manifesto, including a handful of animators. One of the signatories, Wolfgang Urchs had made the short Die Gartenzwerge in 1961, pointing up social aspects of life in the young Federal Republic. At the time, the press described it as ”the first competitive West German animated short“ and Urchs followed with highly political short films like Die Pistole (1963) and Kontraste (1964).

It was over two decades, though, before Urchs embarked on his first animated feature for Michael Schoemann’s studio, In der Arche liegt der Wurm, which was made between 1985 and 1987 and known as Stowaway in the Ark in the US. He

followed this in 1990 with Peterchens Mondfahrt. ”Lilly the Witch“ & Magma Film’s Trixter

Meanwhile, fellow Oberhausener Helmut Herbst, who later progressed to live action features, brought the Axel Springer con- cern into his sights with Schwarz-Weiss-Rot (1963/1964). He then established the animation studio Cinegrafik in Hamburg which worked on animation sequences for industrial films and for Time Life as well as promotional trailers for the Apart from his feature films, Linda also worked for television with third channel of local public broadcaster NDR. One of the stu- such series as Sensationen unter der Zirkuskuppel dio’s collaborators was Franz Winzentsen who had co- (1971-1974), Spass an der Freud’ (1973-1974) and Opera founded an experimental puppet theater in 1960 and worked on Presto (1976-1977). animation films at Cinegrafik until 1973.

8 Kino 2/2002 ANIMATION – MADE IN GERMANY

In 1991 however, all of the studio staff were laid off and the stu- DEFA Animation Studio dios closed down, bringing the production of puppet animation films to a halt. In December of the same year, though, some of Meanwhile, over in the former German Democratic Republic the animators banded together to found Hylas Trickfilm (GDR), the DEFA Animation Studio was founded in Dresden to produce and distribute puppet films for children and Dresden in 1955 and became a gathering place for artists from a adults. The following year, production began with support from variety of related disciplines including graphic design, commercial the state of Saxony on the making of Von der Fee, die graphics, puppetry and information films, as well as production Feuer speien konnte. The arts authorities in Dresden helped groups specializing in puppet animation films, silhouette films and the new group set up a studio outside of the former DEFA infra- the ”classic“ 2-cell animation. structure, and they also produced the puppet film Wie der Mistkaefer Bernhard zum Verstand kommt (1995). As a Goethe Institute brochure accompanying a GDR animation retrospective in 1992 observed, ”their love for the very special art of animation, this unique combination of the German Animation from the 1990s visual and the dramatic, formed a common bond which lasted for decades“. Animation films are traditionally targeted first and foremost at children, but this changed at the beginning of the 1990s in Germany when producers, in particular Michael Schaack, came upon the idea of bringing movement to the characters in the cult Werner comic strips by Roetger ”Broesel“ Feldmann. Director/producer Schaack’s animated feature Werner – Beinhart! (1990) was the result, and the beginning of a highly successful franchise which has now entered into pro- duction on its fourth edition with Hayo Freitag’s Werner – Ein Volk, Ein Koenich (2002). ”Werner“ by Michael Schaack ”Werner“ The German animation industry has since become the envy of the rest of the European animation community for being able to score box-office success with ”adult“ features such as Gerhard Hahn’s Werner – Volles Roaaa! (2.7 million admissions) and Schaack’s The Little Bastard (Kleines Arschloch, 3 million admissions), as well as with ”traditional“ animation for children such as Schaack’s Pippi Langstrumpf, and Thilo Graf Rothkirch and Piet de Rycker’s The Little Polar Until 1990, over 2,000 films were made – for the cinema, tele- Bear (Der kleine Eisbaer, 2001). vision and other institutions. Each year saw about 15 films and series with episodes of between five and thirty minutes being Animation targeted mainly at children is naturally at a disadvantage made for the Children’s General Program (Kindersammelpro- because such films normally can only secure afternoon and, gramm) to be shown to kindergarten and nursery school groups. possibly, early evening screening slots in the cinemas and will have lower takings since the bulk of the box-office comes from the Often, the films served as supporting films before the main fea- lower priced tickets for children. Films aimed at a wider, adult ture in the cinemas, and some of them served an educational pur- audience, however, will also have access to evening slots pose for both children and adults. One series of 30 episodes, and thus have the potential for higher box-office returns. Theo, for example, was on the issue of safety at the workplace, while the figure of ”Kundi“ appeared in another series on behalf of the German Hygiene Museum to teach children about healthy living.

Among the leading figures from the DEFA Animation Studio were co-founder Kurt Weiler and Sieglinde Hamacher, whose works were celebrated in retrospectives at last year’s Leipzig International Festival for Documentary and Animation Film.

While 80-year-old Weiler is known for his puppet animation on such films as Die Geschichte von Kalif Storch and Vom faulen Toepfer und dem fleissigen Waescher, 65-year- old Hamacher is known for her artistically challenging and politi- cally non-conformist films, such as Kontraste (1982) and The Solution (Die Loesung, 1988), made when the days were

numbered for the East German state. Bear“ by Thilo Rotkirch & Piet de Rycker ”The Little Polar

The Dresden studio was also a stage in the career of 1961-born It is no surprise then that European animation producers are Heinrich Sabl, one of the most innovative figures of German increasingly adopting the moniker of ”family entertainment“ to animation in the 1990s, whose films include the shorts Wolf describe their output so as to escape the ”children’s film ghetto“. bleibt Wolf (1994), The Cock (1994), and 100 Jahre Kino (1995), as well as Père Ubu (1997) and Mère Ubu As Michael Schmetz, consultant to studio Hahn Film and (1998). In 1989, the Filmfest Dresden was established on the Filmboard Berlin-Brandenburg among others, observes in a study grounds of the DEFA studios, focusing on the city’s long of animation feature films in Germany since 1997, one point to tradition of animation film. Since then, the festival has developed remember about the comedies à la Werner and Arschloch into and remains a leader in the specialized area of animation. is that they may ”have not only refinanced themselves in the

Kino 2/2002 9 ANIMATION – MADE IN GERMANY

German-speaking market, but have also generated good profits According to Schmetz, around three animation features have been for the producers“; however, their ”specifically German humor“ produced in Germany each year since 1997, although he argues means that these comedies are not great shakes in the export that ”a volume of annually seven to ten German films could be department. well managed by the local cinema market and would also give the studios the possibility to hold on to their valuable creative person- nel and occupy them on a continuous basis. Three films annually, Top German Animation however, are not enough to keep the existing studio capacities busy. All feature film producers are therefore also producers of Features 1997-2001 TV series at the same time“.

Title Prod Company Admissions New Entrants

Kleines Arschloch Senator/TFC 3,071,042 Interestingly, animation has also cast its spell on producer colleagues from the live-action fiction segment. Werner – Volles Rooaaa! Achterbahn/Hahn 2,774,908 One of the highest profile ”converts“ to the animation world was Der kleine Eisbaer Cartoon Film/Warner 2,612,679 veteran producer Eberhard Junkersdorf who set up his own animation studio Munich Animation Film from scratch in Kapt’n Blaubaer Senator/TFC 1,371,115 1995 to produce an animated version of an updated story of the Bremen Town Musicians in The Fearless Four (Die furcht- Pippi Langstrumpf Kirch Media/Svensk 1,106,033* losen Vier, 1997), distributed by Warner Bros. Film (Sweden) Pettson & Findus TV Loonland/Happy 1,029,554* Since then, the studio has worked with Thilo Graf Rothkirch Life Animation (Sweden) on Tobias Totz und sein Loewe (1999); on Help! I’m a Die furchtlosen Vier Munich Animation 800,736 Fish (2000) with Danish and Irish production partners; and is now preparing a feature based on the adventures of Jester Till Hilfe! Ich bin ein Fisch Munich Animation/ 696,737* (Till Eulenspiegel) with British and Belgian partners. ”The ani- AFilm (Denmark)/Terra Glyph (Ireland) mation scene didn’t really exist before in Bavaria“, Junkersdorf Die Story von Monty Monty Film/ 692,111 recalls. ”We really triggered off a lot and many other companies Spinneratz Warner Bros. then followed“. Pippi Langstrumpf in Kirch Media/TFC/ 574,171* der Suedsee Svensk Film (Sweden) Meanwhile, down at the Bavaria Film-Studios, Odeon Film is preparing to diversify into animation programming * international co-productions. Source: FFA/Filmboard Berlin-Brandenburg through subsidiary Lunaris Film’s animation film rights to the classic children’s books by Erich Kaestner. First up is a 13-part series of Emil and the Detectives (Emil und die Detektive) together with the Cologne-based animation studio Diverse Studio Landscapes Juergen Egenolf Productions (J.E.P.) using the famous Kaestner illustrations by Walter Trier as the basis for the Unlike France – where the industry is very much based in Paris – animation. Germany’s lack of one main production center is something of a problem. But the federal structure does have its benefits since, as What’s more, the Leipzig outpost of Berlin producer Alex- with live-action production, the German states vie with each ander Ris’ Mediopolis Film – producer of films by Fred other to attract animation studios to locate to their region by Kelemen and Seyhan Derin – has joined forces with Tony providing attractive incentives. This is reflected in the seven leading animation studios for the production of features: Hahn Film and Cartoon Film Rothkirch are based in Berlin, TFC Trickompany and Animationsstudio Ludewig in Hamburg, Motion Works in Halle, and Trixter Film and Munich Animation Film in Munich.

Added to these players are the production companies active in the animation sector who do not have their own physical studio, ranging from Senator Filmproduktion and Greenlight Media through ndF neue deutsche Filmgesellschaft and RTV Family Entertainment to Warner Bros. Film and TV-Loonland.

Not to mention the many small outfits dotted around the country who work primarily for television or advertising such as Toons ’n’ Tales, Scopas Medien and Studio Film Bilder.

”The German animation film studios also work in part as net- works since, on the one hand, they often don’t have the capacity und sein Loewe“ by Thilo Rotkirch & Piet de Rycker Totz ”Tobias for the production of a feature film“, Schmetz explains, ”and, on the other, there are components like 3D animation which are only available in certain studios“. Thus, The Little Polar Bear involved the cooperation of four German animation studios: Cartoon Film Rothkirch, Motion Works, Animations- fabrik Hamburg, and Animationsstudio Ludewig.

10 Kino 2/2002 ANIMATION – MADE IN GERMANY

Loeser’s Motion Works to develop a 26-part series, But German studios are also much sought-after partners for pro- Count Mocca, centered on the figure of the colorful inventor ductions from other European territories. As Fredrik Zander and adventurer for the six to eleven age group. of Stockholm-based Happy Life Animation points out: ”Many of our projects have been co-produced with Germany because the German funding programs are more flexible with co- production deal structures. It is more difficult to co-produce with French or Canadian partners because their quota system forces us to place production in places where we might not think there was the best talent“.

A recent case of a German animation studio being involved in an international feature was Animationstudio Ludewig in Hamburg working on the compositing for Jimmy Murakami’s Christmas Carol – The Movie (2001), featuring the voices of Kate Winslet and Nicolas Cage.

Show Me the Money

In the past five years, German public funds – i.e. the regional economically-oriented bodies and the national German

”The Fearless Four“ by M. Coldewey, E. Junkersdorf, J. Richter by M. Coldewey, Four“ ”The Fearless And Berlin is the base for an animation subsidiary launched by Federal Film Board (Filmfoerderungsanstalt/FFA) – Hofmann & Voges Entertainment – Punchhole Film have, on average, put up 50%-60% of the production costs for – to produce for cinema and TV. The first fruits of this collabora- German animation features via conditionally repayable loans. tion are the animated linking sequences in the Erkan & Stefan headnut TV show, which will prepare fans for the release of an ”In many cases, animation can be more successful than live-action animated feature film based on the ”krass krauts“, currently en- films because it can get distribution not only nationally but also titled Erkan & Stefan und das Doenertier. internationally“, argues FilmFernsehFonds (FFF) Bayern president Klaus Schaefer. European Dimension Indeed, the regional funds’ intention is also to help support the creation of a lasting infrastructure for the animation sector, and Given the size of the budgets animation features command – an FFF Bayern’s Euro 7 million worth of investment over the last estimated average of Euro 6.5 million –, it is not surprising that five years in such animation projects as The Fearless Four, European co-production has increasingly become the name of Help! I’m a Fish and Pettson & Findus created an the game. economic ”effect“ of Euro 50 million in the region.

”Co-production is a necessity“, declares Stephan Schesch, formerly of Ellipse Deutschland, ”but also an opportunity to combine stories and talents from different markets. Instead of being narrow-minded, it enables us to make products which are geared to a global market“.

Someone who would agree with this is German-born Ralph Christians, whose company Magma Films is based on the west coast of Ireland in Galway and has worked with Schesch on the Loggerheads and Norman Normal series and is now collaborating with Trixter Film on the Lilly the Witch series and the feature Moby Dick – The Legend Returns.

”I think we have created a network here in Europe where people ”Erkan & Stefan“ character sheet (© Punchhole) come together with different skills“, Christians explains. ”If you look at Greenlight, they are very good at marketing and mer- chandising. Our main skill is to create and write stories by in- house writing teams for other studios, and others are very good at voice recording or post-production“. Similarly, the state of Baden-Wuerttemberg and its regional fund Medien- und Filmgesellschaft (MFG) have made the ani- This ”European dimension“ to the German animation scene mation sector a priority given the concentration of talents coming operates in both directions: foreign animation studios come out of the Film Academy Baden-Wuerttemberg in Ludwigsburg onboard German productions – as in the case, say, of Tobias and the presence of companies in the region like Studio Film Totz und sein Loewe and Pettson & Findus. Bilder which handled the animation sequences in Tom Tykwer’s Run Lola Run (Lola rennt, 1998). Indeed, Michael Schmetz’s line up of 20 German animation features planned for production from now until 2004 shows that But not all is hunky dory as producer Thilo Graf Rothkirch 13 - i.e. 65% - will be international co-productions (this figure was explained in an open letter to the finance ministries of Berlin and 40% between 1997-2001). They include Motion Works’ Brandenburg this spring, calling on them to make a clear commit- Globi – der gestohlene Schatten with partners from ment to the region’s media industry by increasing the financial Switzerland and Luxembourg; Lenard Krawinkel’s Gaya resources available to Filmboard Berlin-Brandenburg. with a Spanish production partner; and three projects between Greenlight Media and OSCAR-winning producer John ”We should not allow well-trained animators and operators to Williams (Shrek, 2001). move away to other regions just because we are on a weak

Kino 2/2002 11 ANIMATION – MADE IN GERMANY

Festival of Animated Film which has been held every two years since 1982.

The Film Academy in Ludwigsburg has gained the expertise of Jochen Kuhn as professor for film design. Kuhn has taught widely in Germany, Great Britain, Austria and Australia and has received numerous awards for his films, such as Der lautlose Makubra, 1980, Die Beichte, 1990, Die Stimme des Igels, Vol. I & Vol. 2, (1994), Just Messing About (Fisimatenten, 2000), and the Neulich series (1998-2002), to name but a few. And in January of 2002, the Film Academy launched its own Institute for Animation, Visual Effects and Digital Post-Production. The Institute – under the direction of Professor Thomas Haegele – is not only responsible for courses such as Storytelling/Artistic Animation, Character

”Help! I’m a Fish“ by Stefan Fjeldmark & Michael Hegner Animation and Visual Effects, but also for a development pool for animation series with the focus on content design and technical design. footing in the financing of our projects, or whole projects leave the region“, Rothkirch argued. ”We want to realize our visions Moreover, recent developments have also seen the establishment at the place where we live and not in foreign parts“. of an Animation Master Class at the Fernsehakademie Mittel- deutschland (FAM) in Halle in central Germany in cooperation According to Eberhard Junkersdorf, more money could be with the local animation studio Motion Works and MDM generated for German animation films (and other genres) on top Mitteldeutsche Medienfoerderung to offer courses on of the public funds through the introduction of financial incentives VFX and animation. And here are some of the ”ones to watch“ in based on models in other countries such as the UK sale and the new generation of animators in Germany: leaseback scheme, or the tax schemes operating in Ireland, Luxembourg and Canada. Susanne Fraenzel teaches film animation at the Art Academy in Stuttgart and makes films illustrating a successful As it is, Germany’s private media funds have already identified symbiosis of live action and colorful drawings, such as Bravo animation features and series as a lucrative business with the pro- Papa 2040 (1989). mise of a long shelf-life and broad exploitation of ancillary rights. Some – such as Berlin Animation Film (BAF), Festival Felix Goennert has been studying at the ”Konrad Wolf“ Film and Scopas Family Entertainment have specialized Academy of Film & Television in Potsdam-Babelsberg since 1997 solely in animation. and made Bsss in 1999, which was shown in the Export-Union’s ”Next Generation“ student film showcase in 2000. Others have boarded certain projects with international potential such as MBP (Internationale Medienbeteiligungs- Film- & TV-Produktionsgesellschaft)’s backing of the UK production house Illumination Films’ Christmas Carol – The Movie and CP Medien’s involvement in Jester Till to be produced by Munich Animation with Nik Powell’s Scala Productions and Belgium’s Stupid Studio.

And Berlin-based Target Media was recently set up by Thilo Graf Rothkirch’s Cartoon Film and The Little Vampire-producer Comet Film to produce at least 15

animation and live-action features and TV series with Warner ”Die Stimme des Igels“ by Jochen Kuhn Bros. as a distribution partner.

German Animation’s Up-and- Coming Generation

During the 1980s, several film and art schools in Germany, particularly in Hamburg, Kassel, Stuttgart and Braunschweig, became centers of animated film experimentation, which have since served as a wellspring of ideas and development laboratory for commercial film productions. Thomas Meyer-Hermann teaches at the Art Academy in Albrecht Ade, who launched the animation studies course at Stuttgart and is founder of Studio Film Bilder, which pro- the Art Academy in Stuttgart in 1979, has played a pivotal role in duced Gil Alkabetz’ animated sequences for Tom Tykwer’s the development of a new generation of animators and of the international hit Run Lola Run. public perception of animation in Germany. Animation was high on the agenda during the founding of the Film Academy in Andreas Hykade is a director and animator at Studio Film Ludwigsburg, where Ade served as artistic director (Dr. Arthur Bilder in Stuttgart and the recipient of numerous awards. Hofer succeeded him in this post in 2000). Ade also provided a His films include: We Lived in the Grass (Wir lebten im national and international forum for the latest trends in animation Gras, 1995) employing a very individual drawing style to explore with the establishment of the Stuttgart International the human psyche, and Ring of Fire (2000).

12 Kino 2/2002 ANIMATION – MADE IN GERMANY

Vuk Jevremovich studied Architechture in Belgrade before moving to Munich in 1991 to study at the Academy of Fine Arts. His films include: Era (1995), The Wind Subsides (1996), Panther (1998), which was shown in Venice, and Diary (Tagebuch, 2000), shown in competition in both Montreal and Biarritz.

Vera Lalyko studied Music and Sound Engineering before taking up Animation at the Academy of Media Arts Cologne in 1996. She graduated with the film Window with a View (Fenster mit Aussicht, 2001), which is being presented in this year’s

Export-Union ”Next Generation“ program. She works as a free- Montgomery Stellmach & T. ”Quest“ by T.

lance animator for music clip productions, commercials, TV series, (photo courtesy of Hessische Filmfoerderung) and Internet projects.

The brothers Christoph and Wolfgang Lauenstein brought home a much-cherished OSCAR for their film Balance in 1989 and have created advertising spots in their Hamburg Arvid Uibel and colleague Heidi Wittlinger. Rocks studio for such companies as Sega, Nike and Coca-Cola. is dedicated to Arvid Uibel.

Daniel Nocke studied Animation and Direction at the Film Kirsten Winter teaches at the Academy for Design and Academy Baden-Wuerttemberg from 1994-1999, graduating with Media in Hanover and has participated in numerous media art the film Die Troesterkrise, which won a prize at the Inter- festivals with such films as Clocks (1995), a powerful synthesis of national Festival for Animated Film in Stuttgart and was nominated sound and painting and winner of the Short Film Award at Montreal for the First Steps Award in 2000. He has also written screenplays in 1995, and Escape (2001), which was shown in competition at for Stefan Krohmer’s (live action) films Barracuda Montreal in 2001. She also collaborated with Gerd Gockell on Dancing, Ende der Saison and Sie haben Knut. the documentary Muratti & Sarotti (2000), a documentary on early German animation using cut-outs, objects, and archival material.

Heidi Wittlinger has worked in design studios in Stuttgart and Israel and has been studying Animation at the Film Academy Baden-Wuerttemberg since 1998. In addition to her co-direction on Rocks, her other films include Lockvogel, Auf Herz und Nieren, Ei and Headless.

Martin Blaney ”Balance“ by Christoph & Wolfgang Lauenstein ”Balance“ by Christoph & Wolfgang

Ingo Panke studied Sociology and Political Science before attending to the ”Konrad Wolf“ Academy of Film & Television in Potsdam-Babelsberg. During his studies he made two cartoons – including the 1999 ”Next Generation“ film Trompe L’Oeil – and an experimental film.

Jan Thuering made his first short – The Battle of

Waterloo – at the age of 10 and studied Visual Communication – The Movie“ by Jimmy ”Christmas Carol Murakami at the Niederrhein Academy of Communication from 1995-1997. His animated short Terminal: Paradise (Endstation: Paradies 2000) was shown in the ”Next Generation“ program in 2001.

Thomas Stellmach and Tyron Montgomery are young filmmakers teaching at the Academy in Kassel and working inde- pendently. They received an OSCAR in 1996 for Quest, a tragic tale of a sand person searching for water in a world of sand.

Chris Stenner has worked as a programmer and 3D artist and has been studying Animation at the Film Academy Baden- Wuerttemberg since 1998. He co-directed the animation short Mann im Mond (1999) with fellow student Arvid Uibel (1978-2000), and Rocks (Das Rad, 2001), together with

Kino 2/2002 13 ANIMATION – MADE IN GERMANY (useful contacts)

PRODUCTION COMPANIES & STUDIOS Mediopolis Film- und Fernseh- produktion GmbH Abrafaxe Trickfilm AG Buelowstrasse 66 · 10783 Berlin/Germany Lindenallee 5 · 14050 Berlin/Germany phone +49-30-2 35 56 00 · fax +49-30-23 55 60 66 phone +49-30-30 69 27 0 · fax +49-30-30 69 27 29 www.mediopolis.de · email: [email protected] www.abrafaxe.com Contact: Alexander Ris Contact: Klaus D. Schleiter Motion Works GmbH Animationsfabrik Hamburg An der Waisenhausmauer 11 · 06110 Halle/Germany Donnerstrasse 20 · 22763 Hamburg/Germany phone +49-3 45-20 56 90 · fax +49-3 45-2 05 69 22 phone +49-40-3 98 41 50 · fax +49-40-34 98 15 35 www.motionworks-halle.com www.animationsfabrik.de email: [email protected] email: [email protected] Contact: Tony Loeser Contact: Joern Radel Munich Animation Film GmbH ASL – Animationsstudio Ludewig GmbH Rosenheimer Strasse 143d · 81671 Munich/Germany Hamburger Strasse 205 · 22083 Hamburg/Germany phone +49-89-3 83 88 20 · fax +49-89-38 38 82 22 phone +49-40-2 00 01 90 · fax +49-40-20 00 19 19 www.munich-animation.com www.asl-studios.com · email: [email protected] email: [email protected] Contact: Gert Ludewig Contact: Eberhard Junkersdorf

Comet Film ndF neue deutsche Filmgesellschaft mbH Otto-Hahn-Strasse 136 · 40591 Duesseldorf/Germany Kanalstrasse 7 · 85774 Unterfoehring/Germany phone +49-2 11-75 79 80 · fax +49-2 11-75 79 81 phone +49-89-95 82 60 · fax +49-89-95 81 60 Contact: Gernot Nitschke www.ndf.de · email: [email protected]

Greenlight Media AG NFP animation film GmbH Gormannstrasse 22 · 10119 Berlin/Germany Unter den Eichen 5 · 65195 Wiesbaden/Germany phone +49-30-7 26 20 00 · fax +49-30-7 26 20 02 22 phone +49-6 11-1 80 83 10 · fax +49-6 11-1 80 83 79 www.greenlightmedia.com www.nfp.de · email: [email protected] email: [email protected] Contact: Stefan Thies Contact: André Sikojev Odeon Film AG H5B5 Media GmbH Bavariafilmplatz 7 · 82031 Geiselgasteig/Germany Rosenheimer Strasse 145f · 81671 Munich/Germany phone +49-89-64 95 80 · fax +49-89-64 95 81 03 phone +49-89-45 25 45 00 · fax +49-89-45 25 45 55 www.odeonfilm.de · email: [email protected] www.h5b5.de · email: [email protected] Contact: Reinhard Kloos Contact: Hendrik Hey PunchHole GmbH & Co. KG Hahn Film AG Schoenhauser Allee 8 · 10119 Berlin/Germany Schwedter Strasse 36a · 10435 Berlin/Germany phone +49-30-44 03 97 40 · fax +49-30-44 03 97 80 phone +49-30-4 43 54 90 · fax +49-30-4 43 54 92 53 www.punch-hole.com · email: [email protected] www.hahnfilm.de · email: [email protected] Contact: Peter Thaler Contact: Gerhard Hahn Rothkirch Cartoon-Film Hylas Trickfilm Dresden Bergmannstrasse 68 · 10961 Berlin/Germany Meissner Landstrasse 54 · 01157 Dresden/Germany phone +49-30-6 98 08 40 · fax +49-30-69 80 84 29 phone/fax +49-3 51-4 54 01 37 www.cartoon-film.de · email: [email protected] Contact: Rolf Hofmann Contact: Thilo Graf Rothkirch

Juergen Egenolf Productions (J.E.P.) RTV Family Entertainment AG Schillerstrasse 6 · 50968 Cologne/Germany Rheinstrasse 4c · 55116 Mainz/Germany phone +49-2 21-9 34 74 50 · fax +49-2 21-93 47 45 11 phone +49-61 31-97 31 90 · fax +49-61 31-9 73 19 10 email: [email protected] www.rtv-ag.de · email: [email protected] Contact: Dorothea Meersmann Contact: Ulrike Willner

Linda-Film Produktion Senator Entertainment AG Roemerstrasse 60 · 85609 Aschheim/Germany Kurfuerstendamm 65 · 10707 Berlin/Germany phone/fax +49-89-9 03 40 65 phone +49-30-88 09 17 00 · fax +49-630-88 09 17 23 Contact: Curt Linda www.senator.de · email: [email protected]

Lunaris Film GmbH & Co KG Studio Film Bilder Kurfuerstenplatz 4 · 80796 Munich/Germany Ostendstrasse 106 · 70188 Stuttgart/Germany phone +49-89-39 00 26 · fax +49-89-39 55 69 phone +49-7 11-48 10 27 · fax +49-7 11-4 89 19 25 email: [email protected] www.filmbilder.de · email: [email protected] Contact: Peter Zenk Contact: Thomas Meyer-Hermann

14 Kino 2/2002 ANIMATION – MADE IN GERMANY (useful contacts)

TFC Trickompany Filmproduktion PRIVATE MEDIA INVESTMENT FUNDS Hohenesch 13 · 22765 Hamburg/Germany phone +49-40-3 98 81 90 · fax +49-40-3 98 81 92 00 BAF – Berlin Animation Film GmbH email: [email protected] Gormannstrasse 22 · 10119 Berlin/Germany Contact: Michael Schaack phone +49-30-7 26 20 04 30 · fax +49-30-7 26 20 04 44 www.baf-film.com · email: [email protected] Toons ’N’ Tales Filmproduktion Contact: Patricia Schaefer, Markus Bruning Lerchenstrasse 16c · 22767 Hamburg/Germany phone +49-40-43 13 34 70 · fax +49-40-43 13 34 75 CP Medien www.toons-n-tales.com · email: [email protected] Schorndorfer Strasse 42 · 71638 Ludwigsburg/Germany Contact: Sunita Struck phone +49-71 41-2 42 01 10 · fax +49-71 41-2 42 01 30

Trixter Film GmbH Festival Film Group Oberfoehringer Strasse 186 · 81925 Munich/Germany Bavariafilmplatz 7 · 82031 Gruenwald/Germany phone +49-89-95 99 55 90 · fax +49-89-95 99 55 99 phone +49-89-64 98 11 05 · fax +49-89-64 98 13 05 www.trixter.de · email: [email protected] www.festival-film.de · email: [email protected] Contact: Michael Coldewey Contact: Claudia Tauchen

TV-Loonland AG MBP - Internationale Medien- Muenchner Strasse 16 · 85774 Unterfoehring/Germany beteiligungsgesellschaft mbH & Co. KG phone +49-89-20 50 80 · fax +49-89-20 50 81 99 Nymphemburger Strasse 121 · 80636 Munich/Germany www.tv-loonland.de · email: [email protected] phone +49-89-1 25 55 50 · fax +49-89-12 55 55 55 Contact: Peter Voelkle www.mbp-medien.de · email: [email protected]

Warner Bros. Film GmbH Scopas Medien AG Jarrestrasse 4 · 22303 Hamburg/Germany Westerbachstrasse 28 · 60489 Frankfurt/Germany phone +49-40-22 65 00 · fax +49-40-22 65 02 59 phone +49-69-78 99 20 · fax +49-69-78 99 22 23 www.warnerbros.de www.scopas.de · email: [email protected] Contact: Thomas Schneider, Sandra Neumann

Target Media Entertainment GmbH & Co. Filmproduktion KG Almazeile 6g · 13505 Berlin/Germany ANIMATION FESTIVALS phone +49-30-88 91 33 55 · fax +49-30-88 91 33 56 www.targetmediaentertainment.de Filmfest Dresden – International Festival email: [email protected] for Animation & Short Films Contact: Karin Stammer Alaunstrasse 62 · 01099 Dresden/Germany phone +49-3 51-82 94 70 · fax +49-3 51-8 29 47 19 www.filmfest-dresden.de · email: [email protected] Contact: Robin Mallick, Ines Seifert

Leipzig International Festival for Documentary and Animated Film c/o DOK - Filmwochen GmbH Grosse Fleischergasse 11 · 04109 Leipzig/Germany phone +49-3 41-9 80 39 21 · fax 3 41-9 80 61 41 www.dokfestival-leipzig.de

email: [email protected] & Findus“ by A. H. Kaminski ”Pettson Contact: Fred Gehler

Stuttgart International Festival of Animated Film c/o Film- und Medienfestival GmbH Breitscheidstrasse 4 (Bosch Areal) 70174 Stuttgart/Germany phone +49-7 11-92 54 60 · fax +49-7 11-92 54 61 50 www.itfs.de · email: [email protected] Contact: Albrecht Ade

Kino 2/2002 15 Director’s Portrait Andreas Dresen

Andreas Dresen was born in Gera, Saxony in 1963. His father was the eminent theater director Adolf Dresen. While still at school, he led a drama group, and began making amateur films in 1979. He worked as a sound technician at the theater in Schwerin and as an assistant director at the DEFA studios before taking up his studies at the ”Konrad Wolf“ Academy of Film & Television (HFF/B) in Potsdam-Babelsberg. A member of the Academy of the Arts Berlin-Brandenburg since 1998, he received the Andrzej Wajda/Philip Morris Freedom Prize in February of this year. Still active in the theater, his production of Akte Boehme was premiered in December of last year at the Schauspielhaus Leipzig. His most important films include Silent Country (Stilles Land, 1992, Hessen Film Award, German Critics’ Award), Das andere Leben des Herrn Kreins (TV, 1994, DAG Television Award in Gold), Changing Skins (Raus aus der Haut, TV, 1997, main prize at the Filmkunstfest Schwerin), Night Shapes (Nachtgestalten, 1998, several prizes including a Silver Bear at Berlin for Best Actor and the German Film Critics’ Award), The Policewoman (Die Polizistin, 2000, several prizes including the Adolf Grimme Award in Gold and the German Camera Award) and Grill Point (Halbe Treppe, 2001, Silver Bear and Special Jury Award at the 2002 Berlinale). Andreas Dresen lives in Potsdam. THE UNBEARABLE LIGHTNESS OF FILM

A Silent Country and not ”a blossoming country“. believes, and a film is not worth starting on. Some people have Night Shapes and not ”heroes of the day“. been alienated by this. One critic wrote in the mid-nineties: ”In their first takes, east German films make it obvious that they are This is what his films are called. Lack of faith in the new German light of day transformed into cinema. And now Halbe Treppe: half a staircase.

So he even halves stairs. Where do half staircases lead? Never to a center, that’s for certain. And defi- nitely more likely down than up. One senses that it is impossible to stay in places where ”half staircases“ appear.

Unless that place is the cinema. Perhaps there are no better vantage points for film. After all, his is one of the leading names among the not very many of new German cinema. Andreas Dresen’s Grill Point (Halbe Treppe) was the only one of four German films in competition at the 2002 Berlinale, which, according to most critics, could not be seen as a half measure in any sense. Although it only consists of four people, half-forgotten by life, living in a half-forgotten eastern German town and having various difficulties with each other. For they were careless enough to remind life of their existence. The directness of Grill Point countenances no reserve. It shoots us – and we ourselves are also made up of reserve – into the midst of a maelstrom which must, then, be life itself.

Dresen likes that sort of effect. He had already tried it out in Night Shapes and The Policewoman. All of these films are about the man on the street. There are few other German directors who lend such importance to the man on the street.

Cinema as an injection of reality. Driving truth to the point where it hurts. Anything less than that, Dresen

Michael Hammon, Andreas Dresen (photo © WDR)

16 Kino 2/2002 Director’s Portrait Andreas Dresen cultural products of the old type, with basic conflicts, with preten- observe the fall of the GDR with the camera, and Dresen did sions and a message“. The critic did not bother to conceal a cer- just this. He made a few very fine, short ”fall-of-the-GDR-films“ tain dismay at such cultural fundamentalism. And it’s true, when and then a wonderful, longer one (Silent Country), and in the the German comedy volcano was already in the midst of erupting process he became aware of something remarkable: naturally, ten years ago, Dresen was very careful not to let himself be decline and fall are always a bit sad in some way – this lies in the touched by either its lava or its rain of ash, consistently demanding nature of decline as a metaphysical fact – but above all, they can the return of the socially critical film. Sounds like organized gloom. also be terribly funny. Dresen has never forgotten this. The fact Films which offer us nothing to laugh about, about people who that true metaphysics lie in the profane and that in reality they are have nothing to laugh about? But Dresen corrected this. Weighty funny. The fact that from the outside, the best tragedies appear material simply has to learn to fly! Perhaps it is the tremendous fundamentally ”untragic“. And that the most successful comedies lightness of his films which repeatedly renders us speechless. And have to be tragedies anyway. Andreas Dresen makes this kind indeed, why do people dress up laughter in extra ”laughter films“? of film - Andreas-Dresen-films. An Andreas-Dresen-film comes That is trivial. Andreas Dresen has not yet made a single about when skilled DEFA technique and the weight of truth meet comedy, and yet his films are amusing and grotesque all in one. up with the imperative of becoming lighter. Shake it off! Why cameras on rails when you can carry them on your shoulders? He was not necessarily destined for success. Andreas Dresen Why floodlights when it is light outside anyway? One is aware of belongs to a generation in the East which could easily have gone the techniques in order to know what can be done without. under during the change from east to west. On the one hand, he Generally speaking, ”becoming lighter“ in this way is a sign of was still young – twenty-seven years old at the end of the German maturity. This is when the social worker’s view begins to dance Democratic Republic (GDR) – but the period which had shaped and is drawn with a magical certainty into what sociologists have him was irrevocably over. It was a development under the aus- decided to call ”social reality“. pices of the DEFA. The DEFA, the feature film studio of the GDR, stood for ”cultural products of the old type“, for content, message In the case of Grill Point, Dresen’s attention was finally drawn and pretensions. As yet without his own DEFA films, in 1990 this to the screenplay. Isn’t a screenplay far too weighty? And so quasi-DEFA director found himself in a new anti-DEFA reality. An Andreas Dresen abandoned the screenplay, too. idiotic beginning, when you think about it. Kerstin Decker writes for the Tagesspiegel, But he had already noticed something. His film academy in die tageszeitung and Die Zeit, among others Potsdam had sent its students out into the streets. They were to

Director’s Portrait Elfi Mikesch ”I’M INTERESTED IN PEOPLE WHO CROSS OVER BOUNDARIES“ One simple conviction forms the basis for all of Elfi Mikesch’s Imagination, a willingness to take risks and a desire for freedom films: ”I believe in life, in the energy and intensity of a life that are the decisive landmarks in both Mikesch’s life and her films. breaks out of protected spheres, striving towards the unknown.“ All the people featured in her work, whether they are presented Neither her experimental short films, nor her documentaries and in a documentary manner or brought to the screen as fictional feature films are inventions with which to visualize abstract ideas characters, are ”people of opportunity“. In Marocain (TV, or to stage routine narratives. They are images and creations of 1989), Eva Lehmann leaves her northern German home and life, focusing on real people. Her films are journeys of discovery enters the risk of a new life in Marrakesh. Mind the Gap is a into the secret heart of what is human; they are full of poetry, it is documentary telling the life story of Thorsten Ricardo Engelholz, true, but at the same time they are permeated by an intense ex- who emerges from a dark, handicapped childhood into a life of perience of reality. creativity. The Markus Family is about the energy of a person who can scarcely see, but who is able to devise a life for Her first documentary film Ich denke oft an Hawaii already himself as an artist. demonstrated the direction Mikesch’s film work was to take.

Kino 2/2002 17 Director’s Portrait Elfi Mikesch

Elfi Mikesch was born on 31 May 1940 in Judenburg/Austria. After leaving school, she trained as a photographer. She has lived in Berlin since 1965 and works as a photographer, camerawoman and director. In 1968, she published her first German photo novel under the pseudonym Oh Muvie. She received a German Film Award in 1978 for her first long documentary film Ich denke oft an Hawaii, and again in 1979 for her dynamic, cinematic photo series in black and white Execution: A Study of Mary concerning the life and death of Mary Stuart. Besides documentary films about people with the courage to risk a life crossing over boundaries – most recently Mind the Gap (Verrueckt bleiben, ver- liebt bleiben, 1996) and The Markus Family (2000) –, she has made several short films, including Das Fruehstueck der Hyaene (1983) and Soldaten Soldaten (1993). Her first feature film Macumba was realized in 1982. During 1985 she made Seduction: The Cruel Woman in collabor- ation with Monika Treut. Elfi Mikesch has worked as a camerawoman together with various directors, nationally and internationally, including Rosa von Praunheim (The Einstein of Sex - Dr. M. Hirschfeld, 1999), Werner Schroeter (Malina, 1991, and Poussières d’Amour, 1996), Monika Treut (Die Jungfrauenmaschine, 1988), Peter Woditsch (Hey Stranger, 1994) and Teresa Villaverde (A idade maior, 1991) to name but a few.

It is no coincidence that Mikesch’s films are often concerned Was soll’n wir denn machen ohne den Tod? (1980) or with artists. For on the basis of her own destiny, it is possible to in the shape of scenarios as in the feature film Seduction: The show in an exemplary way how significant a role in life is played by Cruel Woman, where masochistic reveries are staged as a imagination and reverie. ”And this reverie is also playful“, form of life and artistic action. Mikesch adds: ”Our soul plays with all those ideas that it is not permitted to play with during the day. That is why I do the same Elfi Mikesch loves documentary film. ”I love this way of work- with my films.“ But these playful games are not entertainment with ing, approaching other people and working together with them, which to divert our attention away from life. They determine life this mutual play with all our possibilities.“ She becomes involved itself, whether in the shape of memories when facing death as in with people and their situations, in a reciprocal process of give and take in which something new may always be discovered, both before and behind the camera. This joy in discovery derives its energy from a precise viewpoint; one which also takes its time. Often "silent" images are the ones characteristic of Mikesch’s style. By contrast to the flood of images in the media – over-stimulating our per- ception and threatening to cripple it –, she works with camera angles and editing techniques which facilitate attentive contemplation. Intensity and precision are the ideals of her cinematic aesthetics. Elfi (photo Mikesch © Lilly Grote) Her camera work for other directors radiates the same concentration. It does not make any essential difference to Mikesch whether she is working as a director herself or wielding the camera for others, as long as there is productive harmony. In this respect, too, rich interplay with characters prepared to take on risks is central to her work. ”I can learn by working together with others. I am stimulated to develop my own conceptions and ideas. It is a fruitful communicative process.“ But it can only be successful if there is that energy which crosses over boundaries, an energy from which Mikesch derives her strength.

Elfi Mikesch spoke to Manfred Geier, writer for the Sueddeutsche Zeitung, among others, and professor for German Literature and Language at the University of Hanover

18 Kino 2/2002 Film und Video Untertitelung Gerhard Lehmann AG

NEED WE SAY MORE?

• Laser Subtitling on Film • Video Subtitling in Broadcast Quality • DVD Subtitling with specially developed fonts, such as DVD Script HardyTM • Subtitling for all Computer Programmes (or other disc-based systems) • Translation to and from all Languages • Final Check and In-House Editing of all Subtitles and Translations • Voice-overs • Digital Editing in PAL and NTSC • Standard Conversions • 3D Graphics in PAL and NTSC • Telecine • Video Transfer into all Standard Formats • Inspection of Broadcast Material • Audio and Video for the Internet and Multimedia …and many other services!

FILM UND VIDEO UNTERTITELUNG GERHARD LEHMANN AG WETZLARER STR. 30 . D-14482 POTSDAM-BABELSBERG . TEL: +49 331 704 74-0 . FAX: +49 331 704 74-99 EMAIL: [email protected] World Sales Portrait CINEPOOL

Established in 1989 as TELEPOOL’s theatrical department TELEPOOL’s shareholders German public broadcasters Bayerischer Rundfunk, SWR Holding GmbH, Mitteldeutscher Rundfunk and Swiss Television Offices in Munich, Zurich, Los Angeles Head of Theatrical Sales CINEPOOL Dr. Cathy Rohnke Additional contact Wolfram Skowronnek Main fields of activity world-wide distribution of feature films Regular attendance of the following film markets Berlin, Cannes, MIFED Number of titles on offer 75 Percentage of German titles on offer 90% Buyers include Alliance Atlantis, Artificial Eye, Best Film, Columbia Tristar, Fine Line Features, Gaga Communications, Mikado, Musidora, Orler, Pandora Most well-known titles currently on offer Anansi, Berlin Symphony, Help, I’m a Boy!, NOGO, The White Sound Best-selling titles currently on sale Knockin’ on Heaven’s Door, Enlightenment Guaranteed, Now or Never, Gloomy Sunday

CINEPOOL · A Dept. of Telepool Europaeisches Fernsehprogrammkontor GmbH Sonnenstrasse 21 · 80331 Munich/Germany · phone +49-89-55 87 60 · fax +49-89-55 87 62 29 www.telepool.de · email: [email protected], [email protected] CINEPOOL’S DREAM TEAM

”Going to the movies means, for me, going to a magical and won- ”There is not such a thing as a typical CINEPOOL film. derful place,“ says Cathy Rohnke, head of CINEPOOL. ”It Important for us is less the film’s nationality and more its direction. means visiting my dreams. The cinema is where my dreams, good We sell to the world. It’s not set in stone that it has to be and bad, come alive on the big screen and I can share them with German-language. We also have titles from Robert Altman, others. You can happily call me a movie maniac! If I were down to Chen Kaige, Andrzej Wajda and Krzysztof Zanussi my last dime, I’d still spend it on a ticket!“ in our portfolio.“

Rohnke, whose CV includes music, dance and theater, studied at For a woman who proudly boasts, ”I go to the cinema to watch Munich’s Ludwig-Maximilian-University and the city’s film school. everything!“, and who numbers Fargo, The Full Monty, At the same time, she says, “I did everything that’s possible to do Night of the Hunter and Touch of Evil among her in the film scene – carrying cables, director’s assistant-ing, what- favorites, it is the cinemagoer who counts. ever.“ ”For me, and that goes for CINEPOOL, too, the film has to After working in New York and San Francisco, she returned home be entertaining. People pay money to see it and they expect and opened a sponsorship company, ”meeting many people with something for it. They want a performance and the film has to good ideas and no money and bringing them together with people deliver one.“ who could realize them.“ Which is how she came to her next job; banking! For the next six years, she headed the HypoVereinsbank’s CINEPOOL is a company keen, says Rohnke, ”to work with marketing communications department. movies that travel world-wide. There is a new generation of filmmakers in Europe waiting to be discovered. Usually we take ”Whenever somebody asked,“ she says, ”I’d say it was everything on movies on a rough cut basis. But there are exceptions, such as bright which flickered! I was involved with multimedia and interac- the new Doris Doerrie film, Nackt (Naked), where we tivity, and together with Bavaria Film Interactive, I built the stepped in after reading the wonderful script.“ first business-TV association in Germany.“ Like many, she sees ”the new media providing new possibilities of But Rohnke just couldn’t leave the cinema alone, so ”alongside viewing films, new ways of delivering them. But it doesn’t mean the bank I took on a teaching position at Leipzig University in that the Internet is the end of the cinema. Quite the opposite; it Dramaturgy and Script Development. And last year I told myself will help increase the audience, especially as a marketing tool. I had to think seriously about where my emphasis is. I decided However, I prefer going to a cinema to devour films and popcorn. it was with the cinema. I met up with TELEPOOL, CINE- I like the idea of being able to put together my own film evening. POOL’s owners, and since January 2002 I’ve been the new But then I want to watch that on my large-screen TV in my living head.“ room, not on the PC.“

20 Kino 2/2002 World Sales Portrait CINEPOOL Dr. Cathy Rohnke, Wolfram Skowronnek (photoStetter), photographed © Kathrin Skowronnek at the ARRI cinema in Munich Cathy Wolfram Rohnke, Dr.

CINEPOOL’s current Cannes catalogue covers a wide range, ”We’ve also acquired a wonderful Austrian film, NOGO, from from the renowned German documentary maker Thomas Dor Film,“ says Rohnke. ”NOGO is about three couples, Schadt’s Berlin Symphony (Berlin – Sinfonie einer the stories told parallel, à la Tarantino, and takes place at a Grossstadt cf. p.44) – a remake of the Walther Ruttmann petrol station. The first couple are Meret Becker and Oliver 1920s masterpiece – to Anansi (cf. p.42), a heartbreaking story Korritke, the second Jasmin Tabatabai and Juergen of three African refugees, which features music by reggae star Vogel and the third Mavie Hoerbiger and Michael Shaggy, The White Sound (Das Weisse Rauschen), a Ostrowski. They’re all actors you’ve seen elsewhere but not as film about the tragedy of a young schizophrenic (starring Daniel good as in this film. It’s exciting and explosive, in the true meaning Bruehl), and the family fantasy film Help, I’m a Boy! (Hilfe, of the word.“ Ich bin ein Junge!) round up the portfolio. If this isn’t the stuff of dreams, what is?

Simon Kingsley spoke to Cathy Rohnke

Kino 2/2002 21 Producers’ Portrait MTM Medien & Television Muenchen

Established in 1993 by producers Gloria Burkert, Andreas Bareiss and Peter Herrmann, MTM produces for the majority of German broadcasters (ProSieben, Westdeutscher Rundfunk, Bayerischer Rundfunk, Mitteldeutscher Rundfunk and ZDF) as well as for the cinema. The company scored an international success with the co-production of Romuald Karmakar’s The Deathmaker (Der Totmacher), which was the German entry in the 1997 race for the OSCAR for Best Foreign Language Film. Produced in 1995, the film received three German Film Awards and was awarded the Bavarian Film Award, the Hesse Film Prize, as well as the Coppa Volta at the Venice Film Festival. MTM’s production of The Bubi Scholz Story (Die Bubi Scholz Story, 1998) for ARD was another success, receiving the German Camera Prize, the Bavarian Television Award as well as the German Television Award. The company has also enjoyed fruitful collaborations over the years with directors Dominik Graf and Friedemann Fromm in the field of TV movies. Among MTM’s other credits are Jan Schuette’s Fat World (Fette Welt, 1997) and Roland Suso Richter’s A Handful of Grass (Eine Handvoll Gras, 1999). In 2001, the company – which also has an outpost, MTM West Television und Film GmbH, in North Rhine-Westphalia – produced three features: Caroline Link’s Nowhere in Africa (Nirgendwo in Afrika), Dominik Graf’s Berlinale 2001 competition entry A Map of the Heart (Der Felsen), and Urs Egger’s Epstein’s Night (Epsteins Nacht).

MTM Medien & Television Muenchen GmbH · Siegfriedstrasse 8 · 80803 Munich/Germany phone +49-89-3 83 97 20 · fax +49-89-38 39 72 30 · www.mtm-medien.de · email: [email protected] CREATING A QUALITY BRAND

”When we decided to come together, the first idea was just to other“, Bareiss says. ”The things which each one wants to produce good films“, recalls Andreas Bareiss who joined for- produce come about from their own very special take on the ces with fellow producers Gloria Burkert and Peter stories and that then leads to the collaboration with the directors“. Herrmann in December 1993 to set up the production com- pany MTM Medien & Television Muenchen. Looking back at their first ten years of activity, he admits that it would seem ”that Peter has done the larger projects like The At that point in the early 1990s, it would have been too much of Bubi Scholz Story, Nowhere in Africa, and the projects a risk to have focused primarily on films for the cinema. ”Instead, with Guenter Rohrbach – A Handful of Grass and we said that we would make good television on a high-quality Fat World – , while I am more the one for melodramas and narrative level in the field of 90-minute TV movies“, Bareiss romantic comedies, and Gloria has stayed with the drama and the continues. crime thriller. But that has just turned out that way.“

This strategy certainly seems to have paid off as the company’s ”In fact, we are like three small individual production platforms“, reputation in the industry was made, in particular, through its Bareiss suggests, pointing out that before embarking on a pro- collaborations with Dominik Graf on such productions as ject, all three look to see ”whether it fits our corporate identity. Frau Bu lacht (1995), Der Skorpion (1997) and Deine We resisted for years from doing certain projects because they besten Jahre (1998), and with Friedemann Fromm on did not conform to our brand. When we set the company up in Perfect Mind (1996), Spiel um Dein Leben (1997), and 1993, we said that we would define ourselves through our brand Zum Sterben schoen (1999). name ’MTM’ and not through our own names. The idea is that the brand should be worth something, one should be able to trust ”These films resulted from a common understanding of the film the whole, not just the individual“. medium and film language“, Bareiss explains, ”about how I approach a narrative in a film and which stories I want to tell“. In addition, MTM is not a ’here today, gone tomorrow outfit’ making the fast, easy money. ”We are looking to the long term“ Most of MTM’s television work has been done with the public Bareiss declares. ”We have not said that we want to be broadcasters and, as with certain directors, the company has also profitable in five years, but are aiming instead to do this in 10 built up a bond of trust with commissioning editors ”because they years. The kinds of films we are making have a very long lead-in should also share what we think and not just be the ones who do time, realization in the medium term, and then exploitation in the financing“. the long term“.

But how does the company work in practice with three strong ”For example, we optioned the rights for Nowhere in Africa producer personalities under one roof? in 1995 and the film was released in the cinemas in 2001, and TV and video revenues will follow. All this takes time – which perhaps ”I think the quality of MTM is that we have three extremely contradicts the Zeitgeist – but we want to create a value chain be- different characters and we don’t present competition for each cause we know that one can also show our films in ten years’ time“.

22 Kino 2/2002 Producers’ Portrait MTM Medien & Television Muenchen Andreas Bareiss, Gloria Burkert, Peter Herrmann (photo © Walter Wehner) Herrmann (photo © Walter Gloria Burkert, Peter Bareiss, Andreas

After having a regular output each year of TV movies, it was Meanwhile, in the immediate future, MTM has projects in nevertheless quite a step for the company to then embark on development which see it working with partners outside of the tackling three features – Epstein’s Night, A Map of the German-speaking area and with newcomer filmmakers. Heart, and Nowhere in Africa – more or less at the same time last year. The co-production with France’s MACT Productions on Nina Grosse’s coming-of-age story Olgas Sommer (cf. p.34) For Bareiss, though, it was a logical step in the company’s devel- ”is a very organic development“, according to Bareiss. ”Parts of opment after its involvement in countless TV movies which, on the the story are set in a southern country like Spain or France. one hand, had scored with both critics and audiences and, on the Moreover, the director studied in France and is very francophile. other, were not that far away from many German feature films as And the German-French Film Academy and the mini-treaty in the far as their production values were concerned. co-production agreement were also supporting factors which made it easier for our French partner to come onboard“. ”We thought that we might possibly succeed in being able to pro- duce popular feature films with the same demands on quality For a second project, MTM will serve as the junior partner on a which we had made for the TV movies“, Bareiss explains. Austrian-Hungarian-German co-production (Dallas) to be set in ”The idea was to create a brand for the cinema and make it Transylvania and directed by Robert Pejo. ”It is a central unmistakably clear with three films in one swoop where we see European story with a cinematic language that comes from the our future“, he adds. center of Europe“, Bareiss says and points out that MTM would not get involved in co-productions just for the sake of it The first of the trio to open in the cinemas - Caroline Link’s ”but only when a film says something we think will be of interest Stephanie Zweig-adaptation Nowhere in Africa, starring to our audience in Germany“. Juliane Koehler and Merab Ninidze – has developed into something of a sleeper success for distributor Constantin As far as working with newcomer directors, he admits that Film. Launched on 27 December 2001 with 229 prints, the film MTM has not done much in this area although the three still had the same number circulating through German cinemas producers are always keeping their eyes and ears open to know over two months later and passed the one million admissions what new talents are coming out of the film academies. mark at the beginning of March 2002. A project now in preparation is with Kai Pieck – Ein Leben As Bareiss points out, Link’s film is one of those films like lang kurze Hosen tragen about the child murderer Juergen Chocolat or The English Patient which takes a while to Bartsch – which will be made within the WDR/Filmstiftung find its predominantly female audience. But find it it does. The NRW ”Six Pack“ initiative. And Bareiss is working with the audiences for such upmarket titles tend to be spread over several English-born screenwriter Nick Baker-Monteys on a weeks because a cinema visit for them is a real event which has to comedy with the working title 42 about a psychoanalyst who is be specially arranged – with the booking of a babysitter and so on. mistakenly diagnosed with a brain tumor and suspects that his patients might not be so crazy after all … ”It’s not important for me to get 11 million [admissions] just once“, Bareiss jests in allusion to last year’s box-office hit Manitou’s Shoe (Der Schuh des Manitu). ”I’d like that as Martin Blaney spoke to Andreas Bareiss well, of course! But I want to produce ten films in the next ten years which each are seen by a million. I am more for stability than for speculation about a particular success“.

Kino 2/2002 23 “Am See“ by Ulrike von Ribbeck search function to navigate theuserthrough tonavigate the search function a re-launched andoffers recently websiteismore userfriendly loaded from theFFA’s. The websitewww.ffa.de at new andstatisticscanbe down- theanalysis Complete detailsof over onemillionviewers. children’s includingfour drewinaudiencesof local films, ), toppedtheannualhitlist.Eightother Schuh desManitu Manitou’sShoe million admissions,film, aGerman timeinyears andwithmoreinterest. than10.5 For thefirst productionsAnd German experiencedasimilarincrease of over20percent. a plusof scored Euro 987.2million,thebox offices of With aturnover registered; seen,that’s2.2cinemavisitspercapita. statistically 177.9millioncinemagoerswere United States. Atotalof orthe thanthatinFrance,England greater percentage plusfar years, increased by16.7%,a cinemaattendanceinGermany timeinten theyear 2001.For the first of analysis official Federal theGerman ( Film Board’s conclusion of records continuestoannouncenew industry -thatisthe onandthefilm carries boxThe runattheGerman offices [email protected] email: Filmstiftung NRW, phone+49-211-930500or contact: please information, ing EastEuropean market. For further theexpand- willbetheprospects focus of pointof A further abroad. marketingfilms German situationof as thedifficult producers,ness relationship aswell betweenbankers andfilm largerandsmallerdistributors, thecomplicatedbusi- gies of Topics film. German willincludethe variousstrate- of future productions, thediscussionrounds willbededicatedtothe co- international for partners projectsto pitchnew andfind While theco-production meetingwillprovide anopportunity exchange trends. ideasanddiscussnew willmeettomakecontacts, industry new from thefilm andrepresentatives June 2002.For three days,filmmakers Media Forum North Rhine-Westphalia the of conferencewithintheframework film international The Kino 24 Filmstiftung NRW in Germany Extraordinary CinemaYear Film Conference inCologne invites Europeaninvites producers toan news FFA’s exten- from 18-20 (Der FFA) www.german-cinema.de at: foreign representativescanbefound allExport-UnionContact detailsfor Paris/Berlin Festival. the the organizationteamfor is Cinema inEurope.PRassistant German The new of Festivals thefour will nowberesponsibletheorganizationof for asaPRassistantsince2000and theExport-Union for working has beensucceededby manager theproject theExport-Union, of At theMunichheadquarters 2001. the endof expert the Canadian-Austrianfilm The USA/EastCoastandCanadahadbeenlooked afterby Proxicompany Germany, amongotherthings. marketingthee-businesscom- for ProSieben andthehead of -asaproducer andmediaindustry for some timeinthefilm expert been takenscholarandmediamarketing bytheGerman Canadahas representativefor created postof The newly York. theoldesttalentagenciesinNew Wolters Agency, oneof theHanns business since1994andisthesoleownerof film intheinternational descenthasbeenworking German agentOliver Mahrdt YorkerCoast isthefilm .TheNew of USA/East therepresentativefor With immediateeffect, region. afterthe twopeoplewillberesponsiblelooking for the future, andproduction/distribution scenes. In bothinthefestival play thecentralrole thetworegions work,given separate areas of upintotwo USA/East CoastandCanadahasbeendivided theExport-Union The positionof just oneclickisallyou need: industries. Whetheryou’refilm inLondon,Paris orRome– andinternational institutions andorganizationsintheGerman ments, market data,publications, linksto aswellimportant andotherregulations, depart- law press services,funding the of categories:profile intoseven divided are catalogue.Theservices statisticalandinformational sive Cornelia Klimkeit . She has also been working for . Shehasalsobeenworking Martina Neumann New Faces attheExport-Union Faces New Julia Basler Julia Stephanie WeissStephanie has started her maternity leave; she leave; hermaternity has started , who was previously amemberof , whowaspreviously . www.ffa.de Rencontres Internationales under ”AboutUs“.

Brigitte Hubmann Martina Neumann ’s the representative for employees and FFA subsidy , film , whohasbeen Kino 2/2002 until

Oliver Mahrdt (photo © Karin Kohlberg, NY) Kino news

Location Bavaria at Home The city also plays an important role in Pandora Film’s and Abroad German-French co-production Leben toetet mich (Vivre me tue). Jean-Pierre Sinapi’s film, based on the novel of the same name by Paul Smail, tells the story of This spring, Universal Studios, Los Angeles, for the first two North African immigrant children coming to terms with time will provide the setting for a presentation of Bavarian their lives in Germany and France in different ways. The know-how in film technique and location qualities. Organized documentary Sanary – Letzte Station vor dem by the State Ministry of Economy, Transportation and Vergessen from Bertina Henrich (a co-production from Technologies in cooperation with Bavaria Film Inter- Le Mer du Son Cinéma and Filmtank Hamburg) national and the Munich Chamber of Commerce, the high- describes the town Sanary-sur-Mer as a vanishing point and the profile film and video expo CineGear 2002 will be the ”last tip of Europe“. Between 1933 and 1941, the small beach forum for Bavarian production service companies and the town on the Mediterranean coast became a large colony of Film Commission Bavaria, headed by Anja Metzger. German writers, artists and intellectuals fleeing from the From 31 May to 1 June, anyone interested in shooting in Nazi regime. Bavaria can receive information about the latest developments in local film production, equipment, locations and film funding.

In April and May, the Film Commission Bavaria also FFA Industry Tigers 2002: participated in the world’s most important AFCI Locations Over Euro 21 Million in Trade Show in Santa Monica and was present in the Reference Funding German Pavilion at Cannes’ Marché International du Film (MIF). Back home in Bavaria, a new service will be of use to For about 100 pro- anyone in need of historical buildings for a film project: ducers and distribu- through a mediator, the Film Commission Bavaria has tors, the trip to gained access to private castles all over the state and is now Berlin at the end of able to offer them to film productions. Further information March 2002 was well under: www.location-bayern.com. worth it: the Film- foerderungsan- stalt (FFA) France in Hamburg awarded over Euro 21 million (Euro 3.7 million more than Three new German-French co-productions, all supported by the previous year) the FilmFoerderung Hamburg, are well underway in to the most Hamburg and the south of France. Dream, Dream, successful films of Dream (cf. p. 46), directed by Anne Alix, is the first the cinema boom year 2001. The Industry Tiger 2002 feature-length film to be accompanied by the German-French awards were based on the number of tickets sold per film. master class at the Film Academy Baden-Wuerttem- And the winners were: the producers MMC Independent, berg in Ludwigsburg. The film, a co-production between Kinowelt Filmproduktion and Olga-Film, as well as Euripide Productions, Integral Film, Wide Eyes, the distributors Constantin Film Verleih, Senator Diana Film and T & C Film, was shot in part and edited Film Verleih and Kinowelt Film Verleih. and mixed in its entirety in Hamburg. In addition to the positive experience with the various film services in the FFA president Rolf Baehr was particularly happy that child- area, Alix also found a musician for the film score. ”We are ren’s films and documentaries were also represented at this always very happy when foreign producers find Hamburg to year’s awards presentation. The reference funding was divided be an interesting location for their productions as well as post- up among features (58.56%), children’s films (39.02%) and production“, says Eva Hubert, managing director of the documentaries (2.42%). FilmFoerderung Hamburg.

Three German Competition Entries in Nyon

No less than twelve German films and German-international co-productions were shown at the 8th Festival Visions du Réel (22 - 28 April 2002) in the Swiss town of Nyon, of which three German and three German-international "Dream, Dream, Dream" Dream, "Dream, works were screened in the festival’s two competition sections.

Manuel Blanc and Hamburg’s harbor in Manuel Blanc and Hamburg’s The international competition featured: A Bookshelf on Top of the Sky by Claudia Heuermann, a portrait of the New York composer and saxophonist John Zorn, the film diary Wie ich ein Hoehlenmaler wurde by Jan

Kino 2/2002 25 Kino news

Peters, and Volker Koepp’s new film Uckermarck. In Since its foundation in 1998, MDM has supported more addition, the German-international co-production than 250 projects with more than Euro 40 million. Unique Brodwey.Chemoye Morye by Vitali Manski landscapes, remarkable building structures, as well as places (Russia/Germany/Czech Republic) was shown. and motives of cultural interest make central Germany an impressive film location. MDM offers wide-range support in Two German-international co-productions were presented as the areas of material and project development, production part of the Regards Neufs, the festival’s competitive section for support, distribution and sales, as well as screenings and pre- debuts: Ima by Caterina Klusemann (Germany/USA) sentation. Increasingly, the aspects of further training and mar- and Kazi Ni Kiku by Ayako Mogi (Germany/Japan). ket-orientated film marketing are taken into consideration in the overall support scheme. One important criteria for sup- Other German and German-international co-production films port is a lasting regional effect in the states of Saxony-Anhalt, at the festival included: Hwa-Shan District, Taipei by Thuringia and Saxony. This year MDM is supporting a number Bernhard Schreiner, Die eiserne Maria by of historical projects (Luther, Freiherr von Trenck), Ingeborg Jacobs and Hartmut Seifert, Phoenix aus road movies (including a German-Finnish-Latvian co-produc- der Asche by Simone Fuerbringer (Switzerland/ tion under the Mika Kaurismaeki’s direction) and many Germany), Thomas Pynchon – A Journey into the other interesting projects. One of the highlights of the 2002 Mind of P. by Donatello and Fosco Dubini support year will be Peter Greenaway’s trilogy of 120- (Germany/Switzerland), as well as Das Haus/1984 and minute films. Volkspolizei/1985 by Thomas Heise.

Founded in 1969, the documentary film festival Visions du Faster, Easier, Closer: Location Réel in Nyon is one of the most important of its kind in Europe. It is primarily dedicated to films ”which, through a Search Engine for Berlin and conscious formal and aesthetic choice, impart depictions of Brandenburg with New Looks past and present realities as well as their personal and imbued and Functions interpretation“ (festival catalogue). Filmboard Berlin-Brandenburg’s location office, the Berlin Brandenburg Film Commission (bbfc), is launching its new website, www.bbfc.de, with many new features. Via some 600 locations with over 6,800 photographs, moviemakers from all over the world can take a closer look at Germany’s capital region and get straight through to the ”Gate to Germany“. The Berlin Brandenburg Film Commission is a producer’s first stop. “Benny X“ by Florian Baxmeyer

Mitteldeutsche Medien- The huge database HELP, which was first introduced at the foerderung’s Impressive Berlin Film Festival two years ago, functions as an electronic directory to give producers all the information they need on Program locations, shooting permissions and the appropriate contacts. It now holds more than 2,200 addresses to give the user an Over the last years the Mitteldeutsche Medien- idea of ”who’s who“ in film in Berlin and Brandenburg. foerderung (MDM) has sent out a wide range of impulses which contributed to the dynamic development of structures in the media industry in Thuringia, Saxony and Saxony-Anhalt. Alongside strengthening the performance of central German Scriptwriting Camp Freiburg companies in the film, television and media industries, MDM pursues in the medium-term the following aims: increasing the ”regional effects“ in the area, the continuation of the settle- A script development training for young writers and script ment policy and the strengthening of networking within the talents organized by the Filmfoerderung Baden- industry, as well as the establishment of a practice-oriented Wuerttemberg (MFG), the Hessian film fund, the range of training and qualification programs. As a result, cities Goethe Institute Freiburg, TaunusFilm GmbH Wiesbaden and in central Germany have recently hosted such well-known ZFP will take place in Freiburg from 28 May to 2 June 2002 European seminars as Cartoon Creativity, Discovery Campus, and in Wiesbaden from 2 - 7 September 2002. The new EAVE, Pymalion and Sagas. concept will feature: Scriptwriting for Documentary Features

26 Kino 2/2002 Kino news

by Pepe Danquart, who took home an OSCAR (Gregors groesste Erfindung), which was nominated in 1994 for his widely-acclaimed short Black Rider this year for an OSCAR in the category Best Short Film-Live (Schwarzfahrer, 1993) and a German Film Award for Best Action. Direction for the feature Heimspiel (2000). For further information please contact: Following the presentation in Cannes, which is also supported by the six major regional film funds, ”Next Generation MFG Filmfoerdung Baden-Wuerttemberg 2002“ will be shown at all Festivals of German Cinema Karin Frey organized by the Export-Union in key cities of the inter- Breitscheidstrasse 4 · 70174 Stuttgart/Germany national film industry, including Rome, Madrid, Paris, London, phone +49-7 11-90 71 54 04 Los Angeles, Warsaw, Sydney, Melbourne and Hong Kong. fax +49-7 11-90 71 54 50 www.mfg.de/film · email: [email protected]

NEXT GENERATION for the 5th Time in Cannes

The Export-Union once again presents a selection of short films by students of German films schools under the banner ”Next Generation“ during the Cannes Film Festival.

Eight new films from six German film and art academies make Lalyko mit Aussicht“ by Vera “Fenster up this year’s ”Next Generation“ lineup which will have its world premiere in Cannes on Sunday, 19 May 2002 at 20:00 h in the Cinema Star 1. The members of the inde- pendent expert jury for this year’s annual selection were: Heinz Badewitz (Hof Film Days), Astrid Kuehl 4th Location Tour Southwest (Short Film Agency Hamburg) and Thomas Blieninger (Blickpunkt Film). From 27 to 28 June 2002, the MFG film fund kindly invites filmmakers to join this year’s location tour. The two-day discovery of shooting-locations in Baden-Wuerttemberg, providing a large variety of contrasting motifs, will start out in Freiburg, the beautiful university town close to the French and Swiss borders, and leads into the heart of the Southern Black Forest. For further information please contact:

MFG Filmfoerdung Baden-Wuerttemberg

”Hochzeitstag“ by Tanja Brzakovic ”Hochzeitstag“ by Tanja Uschi Freynick Breitscheidstrasse 4 · 70174 Stuttgart/Germany phone +49-7 11-90 71 54 08 fax +49-7 11-90 71 54 50 www.mfg.de/film · email: [email protected]

”Next Generation 2002“ proudly presents: Hochzeits- tag by Tanja Brzakovic and Benny X by Florian Baxmeyer (both from the Hamburger Filmwerkstatt for Film Studies of the University of Hamburg); Am See by Ulrike von Ribbeck and Red Gourmet Pellzik by Andreas Samland (both from the German Film & Television Academy (dffb) Berlin); Fenster mit Aussicht by Vera Lalyko (Academy of Media Arts (KHM) Cologne); Morgenstund by David Emmenlauer (Academy of Television & Film in Munich); Das Rad by Chris Stenner, Arvid Uibel, and Heidi Wittlinger (Film Academy Baden-Wuerttemberg in Ludwigsburg); and Undercover by Susanne Budden- berg (”Konrad Wolf“ Academy of Film & Television in Potsdam-Babelsberg). Invention“ Greatest by Johannes Kiefer ”Gregor's

The program will also feature a special presentation of Johannes Kiefer’s Gregor’s Greatest Invention

Kino 2/2002 27 springboard for new directors.springboard new for andasa womenfilmmakers meetingplacesfor international themostimportant Creteil, whichisregarded asoneof Festival InternationalFilmsdeFemmes in Grand Prix Jury’s Weissbrau. Città Futura,ScuolaNazionalediCinemaandErdinger Foundation,Friedrich-Wilhelm-Murnau UICC,35mm.it,Radio Transit FilmInternational, sored byBavaria inpart Film,the wasalsospon- EmbassyinRome.Thefestival and theGerman cooperation withtheGoethe-InstitueInterNationes Federal in FilmBoard (FFA)funds, andthesixregional film andtheMedia,German CulturalAffairs Commissioner for bytheFederal wassupported Government The event website35mm.it. Internet Pilot ”Next Generation“presentation, the Next Generation of 2001. Withintheframework program film musicalaccompaniment,andtheshort with live Der BAP Film), ka.de, alsoincluded: The program presented byleadactor andSandraNettelbeck’s after thefilm, by Oliver Hirschbiegel premieres“: wereand willsoonbereleasedshownas”avant- inItaly Italiandistributors alreadyfound whichhave Three otherfilms (Nichts Bereuen). Between Rome topresent anddiscusstheirfilms Maria Speth Prahl, introduced thefilm. (Halbe Treppe), who,Axel togetherwithleadactor openedwith The festival tosold-outscreenings. onhandtopresent theirfilms sonally directorsand themediaalike.twoactorswere Five per- response 2002)wasmetwithgreat byaudiences (11 -15April CinemainRome German The third annualFestival of Kino 28 Sandra Nettelbeck’s Wim Wender Remind Me In Andres Veiel (Die Innere Sicherheit)andSomethingto Best Short Film was namedBestShort and Mar delPlata Mar and FilmsWinGerman atCreteil Cinema inRome German Third Festival of Christian Petzold (In denTag hinein)andNoRegrets The Experiment (DasExperiment) by (Toter), amidnightpresentation Mann of and for theBestFeaturefor Filmatthe ’s ’s , whowasalsopresentaQ&Asession for Ode toCologne Fritz’s Lang silentclassicMetropolis Benjamin Quabeck Benjamin ; the documentary ; thedocumentary Sergio Castellito Andreas Dresen’s Bella Martha Esther Gronenborn news ’s twofilms by theItalianmagazineand Oliver Seiter’sThe film (Viel Passiert – The Days The StateIAm was awardedthe Black Box BRD Bella Martha, were alsoin . Grill Point 24th ’s ’s alas- film events worldwide. events film themostimportant andthusoneof so-called ”A-Festivals“ delPlata Cine deMar Recognized bytheFIAPF, the by competition entry mentions waspresented totheGerman-international two special thejury’s United Kingdom),whileoneof Meow The Cat’s competitionentry herrolefor intheGerman-international The andthe Jury) (ADF Cinematographers from theAssociationof tography tographer whilecinema- hisrole BestActorfor inthefilm, of category presented totheSwedish actor the (Germany/United Kingdom/France)by (Germany/United co-production German-international atMardelPlataawardedthe jury 2002). Theinternational delPlata national deCineMar among theprizewinnersat competitionentrieswereAll three German-international Jeanine Meerapfel(Germany/Spain/Greece). Jeanine Silver Ombú Silver Ombú Lajos Koltai Kodak Award . for BestDirection.for AnotherSilverOmbú for BestActressfor wenttoKirsten Dunst Annas Sommer(Anna’s Summer) by Peter Bogdanovich(Germany/ received the prize for BestCinema- theprizefor received soeo thecurrenttwelve is oneof Festival Internationalde 17th Festival Inter- Stellan SkarsgardStellan Taking Sides István Szabó (7 -16March

Sandra Nettelbeck (director of "Bella Martha") Kino 2/2002 in the was with

Jeanine Meerapfel (director of ”Anna’s Summer“, Yves Pasquier (producer of ”Taking Sides“), Gustav Wilhelmi (the Export-Union’s foreign representative in Argentina) www.german-cinema.de

with

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: [email protected] ”It is not exactly a continuation of No Place to Go, although there are some elements there“, Roehler says. “This film is closer to life, it is set in the present and will be narrated in a more realistic way“.

”The parallel story between the couple Robert and Marie (Baeumer) came about from my observation of a lot of situa- tions and long-term relationships where one always had the feeling that men have difficulties committing themselves sexually to one partner“, Roehler explains, adding that ”there is a unconditional nature to this couple’s love and they are bound to one another by fate, but the male partner cannot hold out indefinitely“.

”For once, it will really be a quiet film for me. I want to have a relatively quiet and straightforward camera; there will be no black-and-white, no stylization and everything will be unobtrusive“, Marie Baeumer, Oskar Roehler (photoMeneen) © Marco Marie Baeumer, he continues.

Der alte Affe Angst marks the second collaboration between Der alte Roehler and producers Junkersdorf and Guentsche – they had previously worked together on the RTL TV movie Latin Affe Angst Lover (1999) which also starred Marie Baeumer – and it is the first project under the roof of Junkersdorf’s new com- Original Title Feature Film Cinema Genre Drama pany Neue Bioskop Film. Production Company Neue Bioskop Film, Munich in co-pro- MB duction with TV-60 Filmproduktion, Munich, BR, Munich With backing from Filmboard Berlin-Brandenburg, FilmFernsehFonds Bayern Producers Eberhard Junkersdorf, Dietmar Guentsche, Bernd Burgemeister Director Oskar Das fliegende Roehler Screenplay Oskar Roehler Director of Photog- raphy Hagen Bogdanski Editor Uli Schoen Music by Martin Klassenzimmer Todsharow Production Design Birgit Kniep-Gentis Principal Cast André Hennicke, Marie Baeumer, Vadim Glowna, Hilde van Original Title Das fliegende Klassenzimmer Type of Project Feature Film Cinema Genre Family Production Mieghem, Wolfgang Joop Format 35 mm, color, cs, Dolby Companies Bavaria Filmverleih und Produktion, Munich, Digital Shooting Language German Shooting in Berlin Lunaris, Munich, in cooperation with ZDF, Mainz With backing from 9 April to end of May 2002 from Mitteldeutsche Medienfoerderung, FilmFernsehFonds Bayern, Filmfoerderungsanstalt (FFA) Producers Uschi Reich, Contact: Peter Zenk Director Tomy Wigand Screenplay Henriette Neue Bioskop Film GmbH · Dietmar Guentsche Piper, Hermine Kunka, based on the novel of the same name by Rosenheimer Strasse 143d · 81671 Munich/Germany Erich Kaestner Director of Photography Peter von Haller phone +49-89-4 09 09 20 · fax +49-89-40 90 92 20 Editor Christian Nauheimer Music by Niki Reiser, Biber email: [email protected] Gullatz (songs), Moritz Freise Principal Cast Ulrich Noethen, Sebastian Koch, Piet Klocke, Anja Kling, Hauke Diekamp, Teresa Vilsmaier Format 35 mm, color Shooting Language Production is currently underway in Berlin on Oskar Roehler’s German Shooting in Munich and Leipzig and surroundings from February to April 2002 German Distributor Constantin Film latest feature Der alte Affe Angst, starring André Verleih GmbH, Munich Hennicke (Something to Remind Me/Toter Mann, 2001), Marie Baeumer (Ode to Cologne/Viel Passiert PR Contact: – Der BAP Film, 2000/2001) and Vadim Glowna (No Just Publicity · Bianca Feilkas Place to Go/Die Unberuehrbare, 2000). Erhardtstrasse 8 · 80469 Munich/Germany phone +49-89-20 20 82 60 · fax +49-89-20 20 82 89 As with Roehler’s No Place to Go, which was shown in email: [email protected] Cannes’ Directors’ Fortnight sidebar two years ago and won countless prizes in Germany and abroad, the new film also borrows autobiographical elements from Roehler’s life and that of his family.

While Roehler’s mother, the writer Gisela Elsner, provided the inspiration for the figure played by Hannelore Elsner in No Place to Go, one strand in Der alte Affe Angst with the successful film director Robert (Hennicke) getting in touch with his father Klaus (Glowna) after a gap of five years only to learn that he is suffering from prostate cancer, was based on ’s own experience of being reunited with his father Roehler ”Das fliegendeScene from Klassenzimmer“ shortly before his death. (photo © Rolf Heydt/Bavaria Film/Lunaris) v.d.

30 Kino 2/2002 in production

World Sales: World Sales: Bavaria Film International Bavaria Film International Dept. of Bavaria Media GmbH · Thorsten Schaumann Dept. of Bavaria Media GmbH · Thorsten Schaumann Bavariafilmplatz 8 · 82031 Geiselgasteig/Germany Bavariafilmplatz 8 · 82031 Geiselgasteig/Germany phone +49-89-64 99 26 86 · fax +49-89-64 99 37 20 phone +49-89-64 99 26 86 · fax +49-89-64 99 37 20 www.bavaria-film-international.de www.bavaria-film-international.de email: [email protected] email: [email protected]

Production cranks up for 11 weeks at the beginning of June on Producer Peter Zenk is quite a specialist in adapting the child- Veit Helmer’s second full-length feature Gate to Heaven ren’s classics of Erich Kaestner for the cinema after having (Tor zum Himmel) at locations in Frankfurt’s international also produced Joseph Vilsmaier’s Charlie & Louise (Das airport. doppelte Lottchen, 1993), Caroline Link’s Annaluise and Anton (Puenkchten und Anton, 1999), and Franziska Buch’s Emil and the Detectives (Emil und die Detektive, 2001).

But the latest adaptation – Das fliegende Klassenzimmer – Masumi Makhija posed a few challenges for producers and screenwriters alike as it didn't have ”a continuous, exciting storyline like in Emil and the Detectives“, as producer Uschi Reich points out.

The story centers on young Jonathan who has already flown out of eight boarding schools and thinks it will be only a matter of time before he is sent packing from his new school at the Thomaskirche in Leipzig. But the headmaster takes him under his wing and the boys in his dormitory accept him into their gang. All kinds of adventures are about to happen ...

Casting the adult roles came together quite easily with such lead- ing German actors as Ulrich Noethen (The Slurb/Das Sams, 2001) in the role of the headmaster and Sebastian Koch (The Tunnel/Der Tunnel, 2001) as the mysterious This project, which had been gestating for the last seven years, figure of the ’non-smoker’. But finding the right 10 to 12-year-olds sees Helmer collaborating with the Serbian screenwriter for the children’s parts proved much harder. ”We definitely didn’t Gordon Mihic, whose screenplays including Emir want to cast the parts with children who had already appeared in Kusturica’s award-winning Time of the Gypsies and the last Kaestner films“, Zenk recalls. ”And the demands were Black Cat, White Cat. extremely high because we are dealing here with big lead roles“. ”Gate To Heaven is a love story set at an airport, a film about As a consequence, almost a thousand children passed through the luggage handlers and cleaning women who dream of becoming casting sessions before the producers decided on a number of stewardesses“, explains Helmer. ”It will be shot in English be- film debutants such as 12-year-old Hauke Diekamp for the cause people from all over the world will appear in the film and part of Jonathan, alongside established child actors like Teresa they will speak with an accent, but that is intended“. Vilsmaier and Constantin Gastmann. Helmer and Mihic researched together ”behind the scenes“ The Euro 5 million production of Das fliegende Klassen- at the airport in Frankfurt, away from the check-in counters and zimmer marks director Tomy Wigand’s second outing departure lounges, with Mihic writing the screenplay in Serbian into feature films after his award-winning debut Soccer Rules! since he can speak neither English nor German. Helmer then (Fussball ist unser Leben), starring Uwe Ochsenknecht, wrote the last draft of the script with the support of the from 2000. éQuinoxe script workshop and also participated in other MB European initiatives such as Moonstone and EAVE to hone and fine-tune the screenplay. ”I was interested in the international response and to see how the project was accepted“, he recalls.

Gate to Heaven Although the project has been a long time in preparation – with a break for the production of Tuvalu (1999) –, Helmer says that the film’s story was ”always topical and is so more than ever. The Original Title Gate to Heaven German Title Tor zum film title has many meanings: on one level, it is means the dream Himmel Type of Project Feature Film Cinema Genre Love of flying, of coming to Europe and Germany. But, sometimes, the Story Production Company Veit Helmer Filmproduktion, characters in the film are up on the roof cleaning and look down Berlin, in cooperation with ZDF, Mainz, ARTE, Strasbourg on the passengers in the departure lounge - then heaven is below With backing from Filmboard Berlin-Brandenburg, Film- them!“ foerderungsanstalt (FFA) Producer Ulf Israel Director Veit Helmer Screenplay Veit Helmer, Gordon Mihic Director of As was the case with Tuvalu, casting for his new film was also a Photography Joachim Jung Production Designer marathon task with the director meeting actors in places as far Alexander Manasse Principal Cast Valera Nikolaev, Masumi apart as Los Angeles, London, Tashkent, Bombay and Moscow to Makhija, Miki Manojlovic, Udo Kier, Michael Chynamurindi, find the right people for his acting ensemble. The lineup includes Sotigui Koyate Format 35 mm, color, cs Shooting Language Kusturica-star Miki Manojlovic and Germany’s Udo Kier English Shooting at Frankfurt airport from 11 June - 24 August as well as the ”Bollywood“ actress Masumi Makhija, and 2002 German Distributor Prokino Filmverleih GmbH, Valera Nikolaev (U-Turn). Munich MB

Kino 2/2002 31 Gruesse aus horrors of the concentration camp, but what about the town Dachau! which has become synonymous with the crimes?“ Hello Dachau!, the veteran film, television and advertising cameraman Original Title Gruesse aus Dachau! English Title Hello Fischer’s directorial debut, is ”a fascinating, sympathetic, Dachau! Type of Project Feature Film Cinema with TV version tragically funny and most topical film about Germans, Germany Genre Documentary Production Company Egoli Tossell and the way they are dealing with their loathsome past.“ Film, Berlin, in cooperation with BR, Munich, SWR, Stuttgart With backing from FilmFernsehFonds Bayern, Filmboard His guides in this tourist-video-with-a-twist are a group of charis- Berlin-Brandenburg Producers Jens Meurer, Dr. Claudia matic townspeople, taking him through their ”own personal Gladziejewski (BR) Director Bernd Fischer Screenplay Bernd Dachau“. We meet former prisoners, ex-politicians, the Don Fischer Directors of Photography Knut Schmitz, Bernd Quixote of Dachau, the son of a former concentration-camp Fischer Editor Inge Scheider Music by Haindling Format guard, his father and the landlord of a strange oompah-pub. All of Digital Video to 35 mm blow-up, 1:1.85, color, 90 min (TV them are united by living in Germany’s most (in)famous town. version 52 min) Shooting Language German Shooting in Dachau from October 2001 to August 2002 German SK Distributor Salzgeber & Co Medien GmbH, Berlin

World Sales: d.net.sales · Heino Deckert Das Jesus Video Peterssteinweg 13 · 04107 Leipzig/Germany phone +49-3 41-2 15 66 38 · fax +49-3 41-2 15 66 39 www.d-net-sales.de · email [email protected] Original Title Das Jesus Video English Title Jesus Video Type of Project Mini-Series Genre Thriller Production Companies Ratpack Filmproduktion, Munich, GFP Medienfonds, It’s not easy being German! Especially if you come from an infa- Berlin, in cooperation with F.A.M.E., Munich, ProSieben, Munich, mous small town in Bavaria, known throughout the world as the KirchMedia, Munich Executive Producers Christian Becker, site of the first Nazi concentration camp. And while Dachau Anita Schneider Director Sebastian Niemann Screenplay dreams of being nothing more than as average as anywhere else Martin Ritzenhoff, based on the novel of the same name by in Germany, that is impossible. Andreas Eschbach Director of Photography Gerhard Schirlo Principal Cast Matthias Koerberlin, Naike Rivelli, Manou Sixty years after World War II, the town remains trapped in an eternal Nazi time loop. Dachau. It’s a name the residents can’t Lubowski, Heinrich Giskes, Hans Diehl Format 35 mm, color, shake off. It’s on the check and credit cards issued by the local 1:1.85 Shooting Language German Shooting in Casablanca bank, it’s written on their birth certificates and, worse still, the and Ouarzazate/Morocco, from 26 February to 14 May 2002 dreaded DAH car registration means they carry it with them in the open wherever they go. PR Contact: KirchMedia GmbH · Program Press & PR Silvia Fernandez phone +49-89-99 56 23 80 · fax +49-89-99 56 26 40 www.kirchmedia.de email: [email protected]

World Sales: Beta Film GmbH Robert-Buerkle-Strasse 2 · 85737 Ismaning/Germany phone +49-89-99 56 27 44 · fax +49-89-99 56 27 03 www.betacinema.com

Sebastian Niemann’s fast-paced adventure thriller Jesus Video, based on Andreas Eschbach’s international best-seller of the same name, is a first on several counts.

To begin with, it is the first production by Christian Becker Max Mannheimer in ”Hello Dachau!“ (photo © Bernd Fischer) and Anita Schneider’s new outfit Ratpack Filmpro- While there is no magic solution for disconnecting Dachau’s name duktion; the first project to be backed by the media investment from its past, it doesn’t stop the good citizens from trying. In fund German Film Productions (GFP); ProSieben’s 2001, for example, they represented themselves at Berlin’s first in-house two-parter and also screenwriter Martin International Tourism Fair, the world’s largest, praising Dachau’s Ritzenhoff’s first foray into the thriller genre from comedy. Annual Beetroot Festival. And they are currently pressuring Lufthansa to finally name one of their aircraft after Dachau; other Niemann, who had previously worked with Becker on the German towns have long since received the honor. mystery TV movie Das Biikenbrennen – Der Fluch des Meeres (1999) and the English-language feature 7 Days To In fact, there is no end to the convulsions that the people of Live (2000), became curious after reading the hardback edition’s Dachau put themselves through to deal with their legacy. And in blurb. that way, they are the most German of Germans! A year or so later, producer Becker came to him with the offer ”I’m a storyteller,“ says Bernd Fischer (who spent his teenage to direct an adaptation for television and Niemann didn’t hesi- years growing up in Dachau). ”Everyone knows the name and the tate in accepting.

32 Kino 2/2002 in production

Set in Hamburg’s immigrant district of Altona, home to the world famous red light district, the Reeperbahn, Yueksel Yavuz’s Der Laufbursche tells the unusual story of the friendship between two young men.

Baran (Cagdas Bozkurt) is a Kurd whose relatives have helped him to come to Germany after the death of his parents. Raised in a home, his asylum application was rejected just shy of his six- teenth birthday. No stranger to hard work, he survives by running errands (the best translation of Der Laufbursche is actually the American term ”gofer“, as in the boy who goes and fetches things) for a Turkish fast-food restaurant. Matthias Koerberlin (photo © Ratpack Matthias Koerberlin Filmproduktion)

”I liked the idea of two parts because you then have the chance to be broader in your storytelling and for the whole story to be expanded“, Niemann explains, ”It was an interesting challenge -

and a completely new experience for me - to tell a story over Delmar Cagdas Bozkurt, Leroy three hours“.

At the center of the plot, Matthias Koerberlin (who appear- ed in the Berlinale competition film Amen (2002) by Costa- Gavras this year), plays the young man Steffen helping out at a German archeological excavation in Israel when he finds a 2,000- year-old skeleton holding the instructions for a video camera made in 2003. Although his theory of a time-traveler who made a video of Jesus is ridiculed by everyone, soon he is being pursued by the German embassy and a secret Vatican order, among others, who are all very keen to find the camera and video … His errands take him from the finest apartments to the lowest Budgeted at Euro 4.45 million, the production also features clip joints; confronting him with the district’s many realities. Ornella Muti’s daughter Naike Rivelli as Steffen’s feisty love Occasionally he meets up with a Bosnian woman who works in a interest Sharon, who helps him out of many a tight spot, and was cafe or a homeless man who ”lives“ on a park bench. There’s even shot on location at Ouarzazate – partly using the sets from The a Turkish girl who is keen on him. But to all of them, Baran Bible series – and Casablanca in Morocco. remains a closed book.

MB It is not until he encounters the seventeen-year old African, Chernor (Leroy Delmar), that his life gains impetus. Chernor is also an illegal and stateless immigrant. They are drawn together. But while Chernor tries to finance his future, emigration to Australia, by dealing drugs, Baran’s past catches up with him.

Der Laufbursche He keeps encountering an old Kurdish man and one day learns the man was responsible for his parents’ death. Baran wants to avenge Original Title Der Laufbursche (working title) English Title them but doesn’t know how. Baran’s Way (working title) Type of Project Feature Film Cinema Genre Coming-of-Age Story, Drama Production During an argument between Kurdish radicals at a party, Baran Company Cotta Media Entertainment, Berlin, Peter Stockhaus comes into possession of a gun. But when he confronts the old Filmproduktion, Hamburg, in co-production with ZDF, Mainz man he is unable to act. Shortly afterwards, the worst happens: With backing from Filmfoerderung Hamburg, Filmboard Baran and Chernor are stopped by the police. Baran escapes but Berlin-Brandenburg, BKM Producers Ralph E. Cotta, Peter Chernor is arrested. He has already lost enough people in his life, Stockhaus Commissioning Editor Claudia Tronnier (ZDF) he can’t stand to lose another, one to whom he feels so close. Baran retrieves his gun and heads for the police station to free his Director Yueksel Yavuz Screenplay Yueksel Yavuz Director friend. of Photography Patrick Orth Principal Cast Cagdas Bozkurt, Leroy Delmar, Nazmi Kirik, Necmettin Cobanoglu, Kurdish-born Yavuz came to Germany in 1980 when he was six- Susanna Rozkosny, Sunay Girisken Format 35 mm, 1:1.85, color, teen. A keen stills photographer, he started experimenting with 90 min Shooting Language German, Turkish, Kurdish (partly film in 1990, going on to make several documentaries. subtitled) Shooting in Hamburg from February to April 2002 German Distributor Pegasos Filmverleih, Cologne His 1998 feature film April Children (Aprilkinder), a por- trait of a Kurdish family whose three children struggle to carve out World Sales: a niche for themselves between the old and new worlds, won the Cotta Media Entertainment GmbH · Ralph E. Cotta Audience Award at Saarbruecken in 1999. Suarezstrasse 43 · 14057 Berlin/Germany phone +49-30-8 91 66 11 · fax +49-30-30 82 43 39 SK email: [email protected]

Kino 2/2002 33 recognition, with films such as the fake-Hitler-diaries comedy Nach Haus in Schtonk! (director Helmut Dietl, 1992) and The Deathmaker (Der Totmacher, director Romuald die Fremde Karmakar, 1995). Original Title Nach Haus in die Fremde (working title) Producer Sonja Goslicki has worked closely with George Type of Project TV Movie Genre Tragicomedy since 1996 on the re-launched police series Schimanksi (after the Production Company Colonia Media, Cologne for WDR, detective of the same name), also for broadcaster WDR. Among Cologne Producer Sonja Goslicki Director Andreas Kleinert the many honors she has received are the Golden Camera, the Screenplay Karl-Heinz Kaefer Director of Photography German Television Award, the Bavarian Television Award and a Johann Feindt Editor Gisela Zick Music by Andreas Hoge Golden Gong. Principal Cast Goetz George, Klaus J. Behrendt, Ulrike Krumbiegel, Serguy Moya, Christine Schorn Format Super 16 Colonia Media is a subsidiary of Bavaria Film and speciali- mm to video transfer, 16:9, color, 90 min Shooting Language zes in TV movies (such as the famous ”Scene of Crime“, or Tatort, German Shooting in Cologne and surroundings in February films), drama series and documentaries for Germany’s commercial and March 2002 and public broadcasters. In 2000, Christian Granderath join- ed the company. His hit feature production credits include the World Sales: comedy Maybe, Maybe Not (Der bewegte Mann) Bavaria Media Television · Carlos Hertel directed by Soenke Wortmann in 1994, as well as the dramas Bavariafilmplatz 8 · 82031 Geiselgasteig/Germany The Deathmaker, and Andreas Dresen´s The Police- phone +49-89-64 99 22 36 · fax +49-89-64 99 22 40 woman (Die Polizistin, 2000). email: [email protected] SK

A young family has just moved into its new home. The renova- tions still haven’t been finished as the telephone rings one night: Olgas Sommer Grandfather has been knocked down by a car. Original Title Olgas Sommer (working title) English Title Richard (Goetz George) is only slightly hurt, but it’s obvious Olga’s Summer Type of Project Feature Film Cinema the old man’s senile dementia, or Alzheimer’s Disease, is getting Genre Coming-of-Age Story Production Company MTM worse and he is no longer able to take care of himself. West Television & Film, Cologne, in co-production with MACT Productions, Paris, in cooperation with WDR, Cologne With backing from Filmstiftung NRW, Filmfoerderungsanstalt (FFA)/CNC co-production treaty Producer Peter Herrmann Commissioning Editor Andrea Hanke (WDR) Director Nina Grosse Screenplay Nina Grosse Production Design Ingrid Buron Format 35 mm, color, Dolby SR Shooting Language German/French Shooting in Germany and France from August 2002

Goetz George, Klaus J. Behrendt Contact: MTM West Television & Film GmbH Peter Herrmann Richard-Wagner-Strasse 13-17 50674 Cologne/Germany phone +49-2 21-9 49 72 10 · fax +49-2 21-94 97 21 18 email: [email protected]

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 Richard moves in and, to begin with, they all find humor in the www.bavaria-film-international.de many slight mishaps. At first, they are convinced they can help him email: [email protected] deal with the situation. Oliver prints computer labels for the doors so grandfather can find his way around the house. Jochen increases health insurance payments for his father while Anja gives Shooting is set to begin this August on the latest feature by up her part-time job. But it soon becomes clear to them that their writer-director Nina Grosse, Olga’s Summer, which also decision has serious implications for all their lives. marks the first foray by German producer MTM into European co-productions through its Cologne-based outpost MTM West. The one flicker of hope is Karin, Richard’s long-time lover, whose presence causes him to become his old self and act normally. As ”Having a German-French co-production was a very organic Richard’s illness progresses, the family finds itself deeper and development“, explains MTM’s Andreas Bareiss. ”Parts of deeper in crisis. When the old man accidentally starts a fire, that is the story are set in a southern country which could be Spain or the final straw for Anja. She moves out, leaving the three men France, and Nina Grosse studied in France and is very franco- alone. What will Jochen do? Will the family survive? phile. We also didn’t want to cast some of the characters with actors from Germany because we had the feeling that they Goetz George, a nationally-known star of film and television, is wouldn’t feel French“. also one of the few German actors to have achieved international

34 Kino 2/2002 in production

screen adaptation of her historical novel Pope Joan which has been a bestseller hit in Germany.

Set in 9th century Europe, Pope Joan tells the fascinating and extraordinary story of Johanna von Ingelheim who disguised herself as a man and sat on the papal throne for two years as Pope John Anglicus. (This episode in history was apparently general knowledge until the 17th century before Johanna’s existence was removed from the Vatican’s manuscripts).

”I can’t think of anyone I’d rather have make this movie and I have every faith in Volker and Michael, who really understand the weight of the book and Joan the woman", Cross adds.

Nina Grosse (photo Nina Grosse © Joachim Gern) ”I had promised myself no more literary masterpieces“ admits Schloendorff who has made literary adaptations something of In addition, the decision to team up with a French partner – a speciality in his directorial career with versions of books by Antoine de Clermont-Tonnerre of MACT Produc- Grass, Proust, Musil, and Frisch. ”But this is real storytelling. It tions – was made easier by the existence of the co-production starts with a strong character, about how a gifted child had a thirst mini-treaty (signed at the Cannes Film Festival last year by min- for knowledge, and my first aim is to portray the passion of the isters Tasca and Nida-Ruemelin) and the German- main character rather than show a wide fresco of the time“. French Film Academy. Producer Norbert Sauer recalls that it was really difficult to Grosse’s coming-of-age story revolves around the 16-year-old get the film rights to Cross’ novel: three years ago, an option had Olga who has the following philosophy of life: been taken by New Line, but then 18 months later, he learned ”Things happen just as you want them to if you firmly believe in that they were free again and took the plunge. While a final figure them and do the following: has yet to be fixed for the budget, Sauer is perfectly aware that 1. Take everything you can get straightaway because it will no Pope Joan will be ”big budget, more than triple average, but we 1. longer be there tomorrow. have talked to international financial partners and distributors and 2. Giving up is boring. the impression is that everyone is convinced that it would be a 3. So is being scared, unless it is being scared to death. success“. 4. Never stay any longer than necessary in one place. That 4. particularly applies to the place where your family is staying. Following the motto of ”don’t aim for America and fail at home“, 5. As far as love is concerned, only wild men can be taken into Sauer says that they ”have a European film in mind for the 5. consideration. European market", but also with appeal for the USA. ”If it has 6. Adventures are sacred. a strong European identity, it will be more successful“, Sauer 7. Betrayal can be atoned for by death." concludes. MB As Grosse explains, ”this feeling of being alive determines the story’s dramaturgy. The principle of realism is temporarily can- celled; what is now in force are the laws of the fairytale, of one’s own images and desires, the laws of the welcome coincidence. Olga in Wonderland“. MB Die Paepstin

Original Title Die Paepstin English Title Pope Joan Type of Project Feature Film Cinema Genre Drama Production Company UFA Film & TV Produktion, Potsdam Producer Norbert Sauer Director Volker Schloendorff Screenplay Michael Hirst, based on the novel of the same name by Donna Woolfork Cross Format 35 mm, color Shooting Language English Shooting in Europe from Summer 2003

PR Contact: UFA Film & TV Produktion GmbH · Kristian Mueller Dianastrasse 21 · 14482 Potsdam-Babelsberg/Germany phone +49-3 31-7 06 03 78 · fax +49-3 31-7 06 03 76 www.ufa.de · email: [email protected]

”This is my dream team“, enthuses US authoress Donna Norbert Sauer, Volker Schloendorff, Donna Cross, Michael Hirst Woolfolk Cross about the plans of OSCAR-winning German director Volker Schloendorff, UK screenwriter Michael Hirst (Elizabeth) and producer Norbert Sauer for a big-

Kino 2/2002 35 Grimm fairytales are turned completely topsy turvey as witches fly around on Harley Davidsons, Rumpelstilzchen proves to be an ideal single parent father, and poor Snow White gets up to some wild adventures.

At the center of the story is a love triangle between Ella (whose voice is spoken by Buffy the Vampire Slayer-star Sarah Michelle Gellar), her ideal prince and an unknown true love who turns out to be Rick, the palace dish-washer (Freddie Prinze Jr.) – and, of course, a fairytale story would not be com- plete without an evil mother-in-law (Sigourney Weaver) and a magician (George Carlin).

The voices were recorded at the beginning of March in Los Angeles, and the actual classic 2D animation work was begun shortly afterwards by 300-400 animators at Berlin-based Hahn Film, with production on the Euro 14.3 million project to last for around 16 months.

SimsalaGrimm – The Movie (which will have the additional title of Happily (N)ever After in the USA) is the first of a planned long-term collaboration between Greenlight and John Williams’s Vanguard Films, the OSCAR-winning producer of Gerhard Hahn, John Williams, Stefan Beiten, Nikolaus Weil last year’s animation hit Shrek, to produce internationally marketable animation features for the whole family. SimsalaGrimm – MB The Movie Original Title SimsalaGrimm – The Movie Type of Project Die Suenderin Feature Film Cinema Genre Animation Production Company BAF Berlin Animation Film, Berlin, Hahn Film, Berlin Original Title Die Suenderin Type of Project Feature Film Executive Producer Greenlight Media, Berlin Producers Cinema Genre Psycho-Thriller Production Company Hager Stefan Beiten, André Sikojev, Nikolaus Weil, John H. Williams Moss Film, Munich With backing from FilmFoerderung Director Gerhard Hahn Screenplay Rob Moreland Music Hamburg, FilmFernsehFonds Bayern Producers Kirsten Hager, by Alexander Janko Voices of Sarah Michelle Gellar, Freddie Eric Moss Director Sherry Hormann Screenplay Bernd Prinze Jr., Sigourney Weaver, George Carlin Format 35 mm, Schwamm, Kit Hopkins Director of Photography Hanno color, 1: 1.85, Dolby SR Shooting Language English Lentz Editor Eva Schnare Format 35 mm, 1:1.85, color, 110 Shooting at Hahn Film Studios from March 2002 min Shooting Language German Shooting in Hamburg from September to October 2002 Contact: Greenlight Media AG Contact: Gormannstrasse 22 · 10119 Berlin/Germany Hager Moss Film GmbH · Kerstin Hager, Eric Moss phone +49-30-7 26 20 00 · fax +49-30-7 26 20 02 22 Rambergstrasse 5 · 80799 Munich/Germany www.greenlightmedia.com phone +49-89-2 06 08 00 · fax +49-89-20 60 80 10 email: [email protected] www.hager-moss.de · email: [email protected]

World Sales: Greenlight International B.V. Her fate was sealed years ago. Now it’s caught up with her! Lorentzweg 46 As Cora Bender prepares for a swimming trip with her husband B1221 EH Hilversum/The Netherlands and young son, she’s really planning her own death by drowning. phone +31-3 56-42 06 77 · fax +31-3 56-42 06 88 But her planned ’accident’ is interrupted when she is called back www.greenlightmedia.com to shore by her child, who is hungry. email: [email protected] She peels him an apple and is then further disturbed by a couple who have started necking. Cora stands up, walks over to them Over the last three years, television screens in some 130 countries and stabs the man repeatedly in the throat, killing him. around the world have been graced by the highly successful 26 half-hour TV animated series SimsalaGrimm, based on the At first, the police, in the form of Detective Rudolph Grovian, are classic fairy tales of Germany’s Brothers Grimm. interested only in the facts, but run up against a wall of silence and forgotten motives. But as Cora’s memory returns, she begins to Now, producers Greenlight Media are going one step forward remember the person who sealed her fate, her sister Magdalena. and building on the series’ popularity with the making of a feature animation film inspired by the Grimm stories and targeted at an As Cora’s obsessions and her repressed past overwhelm her, it is international family audience. Grovian who also finds himself forced to stand on the edge of the abyss, looking into the bottomless depths below. Scripted by Rob Moreland, SimsalaGrimm – The Movie is set in the fairytale land of Simsala and shows what happens Die Suenderin (the title translates ”The Sinner“) is the latest when the balance of good and evil is brought out of kilter. The film from German-American Sherry Hormann, and tells the

36 Kino 2/2002 in production

standing leads to a rift which tears both them and their world apart.

Twenty years later, Lukas is still terrified of being abandoned. He survives by forming loose relationships which don’t threaten him. Then one day he meets Lena who turns his feelings upside down and awakens his inner child, the one still searching for uncondi- tional friendship.

While there is never a guarantee of security, there forms a bond of trust, and through Lena, Lukas again makes contact with Clemens. After years of silence, they are finally able to exorcise their ghosts in an explosion of emotion.

”The characters in this film aren’t driven by outside events,“ says

Sherry Hormann writer-director Andreas Struck, ”but by their internal experi- ences and expectations. Just as Lukas’ physical handicap mirrors story of a journey into the unknown, into the very secrets of the his emotional handicap after being abandoned, so I intend to human soul. visualize the internal processes.“

”The figures are bound within a dramatic corset,“ says Hor- Born in Cologne in 1965, Struck studied Comparative Literature mann. ”I want to show breaks and feelings beyond the normal. in Bonn and Berlin before embarking on a career in theatrical The spectator should not be able to work out what awaits him direction. His film credits include Edward II (1991) and or her. There is no more intelligent way to be entertained.“ Wittgenstein (1993, personal assistant to Derek Jarman on both films) as well as director’s assistant and script supervision In fact, Hager Moss Film’s first-ever feature was Hormann’s for Sandra Nettelbeck’s Loose Ends (Unbestaendig Silent Shadows (Leise Schatten, 1992) which was awarded und kuehl, TV, 1995), Christian Petzold’s Cuba Libre the Bavarian Film Award and won three German Film Awards. Their (TV, 1996) and Maria Teresa Camoglio’s Bandagisten- next collaboration, Women Are Simply Wonderful glueck (1997). (Frauen sind was Wunderbares, 1993) won the Bavarian Film Award for newcomer producers. Hormann’s other films As well as contributing to the magazines Filmfaust and Theater with Hager Moss include the features Doubting Thomas Heute, since 1993 he has been part of the Panorama team at the (Irren ist maennlich, 1995) and Widows ( Erst die Ehe, Berlin Film Festival and since 1997 he has coordinated the activi- dann das Vergnuegen, 1997). She is also the director of the ties of the European Film Promotion in Cannes and Pusan/South feature drama, Private Lies (2000). Korea.

Hager Moss Film also produces commercials. The two-track Sugar Orange sees Struck renewing his partnership with approach pays rich dividends, as Eric Moss explains: ”Directors director of photography Andreas Doub, editor Philipp working in advertising have moved over into features and, at the Stahl and composer Erlandas. Together, they all worked on same time, we have worked with film directors on commercials Struck’s debut film, Chill Out (1999), which has played at because this gives them a chance to try out new things and work festivals around the world, including Berlin, Edinburgh, with more precision. It’s very good training and pays the rent!“ Gothenburg, Toronto, Sao Paulo, Rio de Janeiro, Palm Springs, San Francisco, Los Angeles, Montreal, Hong Kong and Sydney. SK SK Sugar Orange

Original Title Sugar Orange Type of Project Feature Film Cinema Genre Drama Production Company Jost Hering Struck Andreas Filmproduktion, Berlin With backing from Filmstiftung NRW Producer Jost Hering Director Andreas Struck Screenplay Andreas Struck Director of Photography Andreas Doub Editor Philipp Stahl Music by Erlandas Principal Cast Lucas Gregorowicz, Ellen ten Damme Format 35 mm, color, 1:1.66 Shooting Language German Shooting in Cologne and the state of Brandenburg in Spring 2003

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 www.josthering.de · email: [email protected]

Lukas is Sugar, Clemens is Orange. Together, they are two ten- year-old boys who are inseparable. More than just playmates, they share a unique bond which seems predestined to last a lifetime. Until, that is, powerful emotions come to the fore and a misunder-

Kino 2/2002 37 Liebelei Scene from ”Liebelei“ (photo Scene from © Filmmuseum Berlin/Deutsche Kinemathek)

Turn-of-the-century Vienna. Lieutenant Fritz Lobheimer is having a secret affair with the Baroness Eggersdorf, but wants to end the relationship because he is constantly afraid of being found out. However, the Baroness wants to hear nothing of it. In the meantime, the Baroness’ husband becomes suspicious and returns home early one day. Fritz is able to sneak out unnoticed, but the Baron finds a strange key - the key that Fritz gave the Baroness to his apartment. Suddenly the Baron appears one night during a party at Fritz’ apartment - using the key he found, thus revealing Fritz as his wife’s secret lover. Fritz must then face death when his code of honor compels him to a duel with the Baron.

Genre Drama, History, Literature Category Max Ophuels was born in 1902 in Saarbruecken Feature Film Cinema Year of Production and died in 1957 in Hamburg. He began his career as an 1932/1933 Director Max Ophuels Screenplay actor and director for the theater before he became an Hans Wilhelm, Curt Alexander, Max Ophuels, assistant director and dialogue director at the Ufa based on the play by Arthur Schnitzler Director Studios in 1930. After a series of comedies, he directed of Photography Franz Planer Editor Friedel The Bartered Bride (Die verkaufte Braut, Buckow Music by Theo Mackeben Production 1932), one of the first sound film versions of an opera. Design Gabriel Pellon Producer Christoph In 1933, he emigrated to France, followed by time spent Muelleneisen Production Company Elite- from 1941-1949 in the United States. A selection of Tonfilm-Produktion, Berlin Principal Cast Paul his films includes: Dann schon lieber Lebertran Hoerbiger, Magda Schneider, Luise Ullrich, Gustaf (1930), Die lachenden Erben (1931), Die ver- Gruendgens, Olga Tschechowa, Willy Eichberger, liebte Firma (1931), Liebelei (1932/1933), Wolfgang Liebeneiner, Werner Finck, Paul Otto Letter from an Unknown Woman (Brief Length 87 min, 2,378 m Format 35 mm, b&w, einer Unbekannten, 1948), Caught (Gefangen, 1:1.37 Original Version German Subtitled 1949), The Reckless Moment (Schweigegeld Version French Sound Technology Mono fuer Liebesbriefe, 1949), La ronde (Der German Distributor Filmkundliches Archiv, Reigen, 1950), Lola Montez (1955), and many Cologne more.

World Sales: Canal+ Images International · Dominique Brunet Espace Lumière, 5-13 Boulevard de la République · Boulogne-Billancourt Cedex 92/France phone +33-1-71 75 88 51 · fax +33-1-71 75 87 02 THE 100 MOST SIGNIFICANTTHE 100 GERMAN FILMS – 22

38 Kino 2/2002 Wintergartenprogramm Scenes from ”Wintergartenprogramm“Scenes from (photo © Filmmuseum Berlin/Deutsche Kinemathek)

On 1 November 1895, the brothers Max and Emil Skladanowsky presented their pioneer film work and legendary Bioscop program in Berlin's Wintergarten Theater. With live musical accompa- niment, the compilation program included short film sequences with famous artists of the time: Italienischer Bauerntanz, Komisches Reck, Der Jongleur, Das boxende Kaenguruh, Kamarinskaja, Die Serpentintaenzerin, Akrobatisches Potpourri, Ringkampf, and Apotheose, with the Skladanowsky brothers bowing to their audience.

Genre History Category Documentary Max Skladanowsky was born in 1863 and died in 1939 in Cinema Year of Production 1895 Berlin. A film pioneer, he experimented in photography together Director Max Skladanowsky Screenplay with his father Carl and brother Emil, and in 1892, constructed a Max Skladanowsky Directors of Photog- camera that could capture moving images. In 1885, he introduced raphy Max Skladanowsky, Wilhelm Fenz the Bioscop double projector, followed by another new camera Production Company Skladanowsky Film, and a single projector in 1896. He started his own business, Berlin Principal Cast the Ploetz-Larella child- Berliner Camerawerk, and later the production and distribution ren, the Milton brothers, Mr. Delaware, Paul company Projektion fuer Alle in 1897, hoping to successfully com- Petra Sandow, Emil and Max Skladanowsky, the mercialize his early cinematic inventions, but the growing competi- Grunato family, the Tscherpanoff brothers, tion from the rapidly developing film industry led to the ruin of his Mademoiselle Ancion, Mr. Greiner Length small company. However, his unsurpassed significance as inventor 7 min, 159 m Format 35 mm, b&w, 1:1.37 of Germany's first film camera and projector and his historical Original Version silent with German inter- contributions to the entire film industry remain. His films include: titles German Distributor Transit Film Wintergartenprogramm (1895), Nicht mehr allein GmbH, Munich (1896), Am Bollwerk in Stettin (1897), Eine Fliegenjagd oder Die Rache der Frau Schultze (1913), Die moderne Jungfrau von Orleans (1914), and Die Erfindung der Kinematographie im Jahre 1895 in Berlin (1927), among others.

World Sales: Transit Film GmbH · Loy W. Arnold, Mark Gruenthal (* no. 23 Spur der Steine was already presented Dachauer Strasse 35 · 80335 Munich/Germany within the framework of the former series phone +49-89-5 99 88 50 · fax +49-89-59 98 85 20 ”German Classic Movies“ in KINO 2/1999) email: [email protected] MOST SIGNIFICANTTHE 100 GERMAN FILMS – 24*

Kino 2/2002 39 Lola Montez Scene from ”Lola Montez“ (photo Scene from courtesy of Filmmuseum Munich)

Based on the novel La vie extraordinaire de Lola Montèz by Cécil Saint-Laurent, Lola Montez tells the tragic story of the once notorious courtesan, but now ill and tired Lola Montez, who works in the circus as the "attraction of the year" answering questions from the audience. When asked about her love life, she is reminded of her past, which is performed in short sequences in the circus ring: childhood and early marriage, farewell from Franz Liszt, and successful career. The more respected her lovers are, the higher she ascends on the trapeze. She reaches the highest point when she tells the story of her relationship to the Bavarian king, Ludwig I. But after being banished from the king's court by revolting citizens, her downfall soon follows after a brief affair with a student. One of the most celebrated examples of both Technicolor and CinemaScope, the German version of Lola Montez was fully restored in 2002 by the Filmmuseum Munich.

Genre Biopic, Drama, History Category Max Ophuels was born in 1902 in Saarbruecken Feature Film Cinema Year of Production 1955 and died in 1957 in Hamburg. He began his career as an Director Max Ophuels Screenplay Max actor and director for the theater before he became an Ophuels, Jacques Natanson, Annette Wademant, assistant director and dialogue director at the Ufa Franz Geiger Director of Photography Studios in 1930. After a series of comedies, he directed Christian Matras Editors Madeleine Gug, The Bartered Bride (Die verkaufte Braut, Adolph Schlyssleder Music by Georges Auric 1932), one of the first sound film versions of an opera. Production Design Jean d'Eaubonne, Willy In 1933, he emigrated to France, followed by time spent Schatz Producers André Haguet, Alfred Zappelli, from 1941-1949 in the United States. A selection of Emil E. Reinegger Production Company his films includes: Dann schon lieber Lebertran Gamma Film, Paris, Florida Films, Paris, Gamma (1930), Die lachenden Erben (1931), Die ver- Film, Munich, Oska-Film, Munch, Union-Film, liebte Firma (1931), Liebelei (1932/1933), Munich Principal Cast Martine Carol, Peter Letter from an Unknown Woman (Brief Ustinov, Anton Wohlbrueck, Henri Guisol, Lise einer Unbekannten, 1948), Caught (Gefangen, Delamare, Oskar Werner, Will Quadflieg Length 1949), The Reckless Moment (Schweigegeld 114 min, 3,093 m Format 35 mm, color, cs fuer Liebesbriefe, 1949), La ronde (Der Original Version English/German/French Reigen, 1950), Lola Montez (1955), and many Sound Technology 4-Channel Magnetic Track more. German Distributor Metropolitan, Munich

World Sales: Les Films du Jeudi - Les Films de la Pléiade · Laurence Braunberger 3, rue Hautefeuille · 75006 Paris/France phone +33-1-40 46 97 98 · fax +33-1-40 46 89 88

THE 100 MOST SIGNIFICANTTHE 100 GERMAN FILMS – 25 email: [email protected]

40 Kino 2/2002 Madame Dubarry PASSION Emil Jannings, Pola Negri in ”Passion“ (photo Negri © Filmmuseum Berlin/Deutsche Kinemathek) in ”Passion“ Emil Jannings, Pola

In a deal to save her lover Count Dubarry from financial ruin, the Parisian milliner Jeanne Vaubernier (alias Madame Dubarry) becomes the influential wife of the reigning French king, Louis XV. However much to the dismay of the king's advisor Choiseul, who had planned for his own sister to marry the king. Choiseul thus starts a campaign to turn the people against the monarch and his new wife, and Jeanne soon becomes a symbol for the extravagance of the much-hated aristocracy. When the king dies, Jeanne is ousted by the angry masses and sent to the stakes.

Genre Drama, History Category Feature Film Ernst Lubitsch was born in 1892 in Berlin and died in 1947 in Cinema Year of Production 1919 Hollywood. After studying Acting, he appeared as a comedian in Director Ernst Lubitsch Screenplay Fred his first film roles. He had his directorial debut with the film Orbing, Hanns Kraely Directors of Photog- Blindekuh in 1914. His first comedy Die Austern- raphy Theodor Sparkuhl, Fritz Arno Wagner prinzessin (1919) was followed closely by Madame Music by Alexander Schirmann (1919), Hans Dubarry (1919), which was a great audience success. In 1922, Joensson (1976) Production Design Kurt he emigrated to the United States where he became one of the Richter, Karl Machus Producer Paul Davidson leading directors of Hollywood. Once in Hollywood, he devel- Production Company Projektions-AG Union oped his frivolous style known as the ”Lubitsch touch“. In 1933, (PAGU), Berlin Rights Friedrich-Wilhelm-Murnau- he became an American citizen and took over production at Foundation, Wiesbaden Principal Cast Pola Paramount. His other films include: I Don't Want to Be a Negri, Emil Jannings, Reinhold Schuenzel, Harry Man (Ich moechte kein Mann sein, 1918), Carmen Liedtke, Eduard von Winterstein, Karl Platen, (1918), Anna Boleyn (1920), Sumurun (1920), The Paul Biensfeldt, Magnus Stifter Length 92 min, Flame (Die Flamme, 1922), The Marriage Circle (Die 2,492 m Format 35 mm, b&w, 1:1.37 Original Ehe im Kreis, 1924), Lady Windermere's Fan (1925), Version silent with German intertitles Trouble in Paradise (Aerger im Paradies (1932), the Intertitled Version English German Hitler satire To Be or Not to Be (Sein oder Nichtsein Distributor Transit Film GmbH, Munich (1942), and many, many more.

World Sales: Transit Film GmbH · Loy W. Arnold, Mark Gruenthal (*no. 26 Faust. Eine deutsche Volkssage, no. 27 Heimat I. Dachauer Strasse 35 · 80335 Munich/Germany Eine Chronik in 11 Teilen, and no. 28 Deutschland im Herbst phone +49-89-5 99 88 50 · fax +49-89-59 98 85 20 were already presented within the framework of the former email: [email protected] series "German Classic Movies" in KINO 1/1999, MOST SIGNIFICANTTHE 100 GERMAN FILMS – 29* KINO 2/2000 and KINO 4/1999 respectively)

Kino 2/2002 41 Anansi

From Ghana to a deserted coast – from Morocco to Spain – out of desperate need, a group of West Africans dare the perilous journey to Germany. But their path to the promised land of satellite dishes and a better life is strewn with obstacles. In West Africa, the name ”Anansi“ means spider – a well-loved trickster. This ancient mythical character represents the survival strategies of a people who secure a future for themselves in spite of the most repulsive conditions. The main character – Zaza – is played by George Quaye, Ghana’s much adored womanizer in the weekly soap Taxi. His friend Sir Francis – the wise cracker – is played by Maynard Eziashi, who earned a Silver Bear at Berlin in 1992 for Mister Johnson and also starred in the film Ace Ventura. Reggae superstar Shaggy supported the project from the beginning and contributed the title song Why Me Lord. Roman Bunka’s vivid soundtrack carries the spirit of this road movie – oscillating between laughter and tears. Anansi is an odyssey full of wonders and sacrifices, African mystic and a love that surpasses all borders. Jimmy Akingbola, Naomie Harris (photo © AVISTA FILM) Jimmy Akingbola, Naomie Harris (photo © AVISTA

Genre Drama Category Feature Film Cinema Year of Pro- Fritz Baumann was born in 1950 in Brannenburg. duction 2001/2002 Director Fritz Baumann Screenplay Fritz From 1973-1977, he studied at the Academy of Baumann Director of Photography Arturo Smith Editor Television & Film (HFF/M) in Munich. Since 1976, he has Christian Lonk Music by Roman Bunka Production Design been working as an independent producer, director, Carsten Lippstock Producers Alena & Herbert Rimbach Pro- recording supervisor and film editor. His films include: duction Company AVISTA FILM, Munich, in co-production with Mord (1974), Die Pensionierung (1975), Die Brainpool TV, Cologne, Calypso Filmproduktion, Cologne, in coopera- Begegnungen (1976), co-direction on Let’s Not tion with ARTE, Strasbourg, BR, Munich Principal Cast George Talk About It (1978) and Dein Kopf ist ein Quaye, Jimmy Akingbola, Naomie Harris, Maynard Eziashi, Danny schlafendes Auto (TV, 1981) with Werner Penzel, Sapani Casting Daniela Tolkien, Munich, Sam Jones, London Length So frei wie der Loewe (1984), D’jubel Wies’n 80 min, 2,188 m Format 35 mm, color, 1:1.85 Original Version (documentary, 1985), Woman (documentary, 1989), English Dubbed Version German Sound Technology Dolby The Journey of the Lion (Die Reise des SRD With backing from FilmFernsehFonds Bayern, BKM, Loewen, 1993) – winner of the Silver Plaque at Chicago Filmbuero NW, FilmFoerderung Hamburg, MFG Baden-Wuerttemberg, in 1993 and the New York Times Film Critics’ Award in Kuratorium junger deutscher Film, Filmfoerderungsanstalt (FFA), 1994, Eisen (TV, 1996), six documentary episodes of MEDIA German Distributor Pegasos Film, Frankfurt Bonn packt (TV, 1999) and Anansi (2001/2002), among others.

World Sales: CINEPOOL · A Dept. of Telepool Europaeisches Fernsehprogrammkontor GmbH Dr. Cathy Rohnke, Wolfram Skowronnek Sonnenstrasse 21 · 80331 Munich/Germany AT CA N N E S phone +49-89-55 87 60 · fax +49-89-55 87 62 29 www.telepool.de · email: [email protected], [email protected] MARKET SCREENINGS 42 Kino 2/2002 Annas Sommer ANNA'S SUMMER

Anna Kastelano is packing up the home that had belonged to her family on a Greek island and is considering putting it up for sale. However, in these familiar surroundings, she is revisited by memories of her own past and that of her Sephardic-Jewish family. Anna has not yet got over the death of her husband Max. She spends the summer on the island, which has become her second home, trying to come to terms with her solitude. For the first time, she opens the old family chest. Memories and ghosts rise up, with whom she cooks, dances and picks figs. She finds old telegrams relating to the fate of her grandmother Anna. She also discovers the diary of another Anna, her father's first love. But the present also makes itself felt. Anna meets Nikola and the feelings she experiences inter- mingle with her mourning and the moving discoveries about her family. Anna is searching for a path through the labyrinth of her history and ultimately decides to assume her place in it. Life goes on. Scene from "Anna's Summer" (photo Scene from © Integral Film)

Genre Drama, Family Category Feature Film Cinema Year of Pro- Jeanine Meerapfel was born in 1943 in Buenos duction 2001 Director Jeanine Meerapfel Screenplay Jeanine Meerapfel Aires/Argentina. Born to parents who fled Germany Director of Photography Andreas Sinanos Editor Bernd Euscher during the Nazi regime, she has consistently engaged Music by Flores Floridis Production Design Alexander Scherer themes involving identity, politics and emigration into her Producer Dagmar Jacobsen Production Company Integral Film, Berlin, films. Her first feature, Malou (1981), won the FIPRESCI in co-production with Malena Films, Berlin, FS Production, Athens, El Iman, Award at Cannes and the Gold Hugo at Chicago. She has Madrid, in cooperation with WDR, Cologne, ARTE, Strasbourg, ERT, Athens, directed numerous features and documentaries, several of Canal+ España, Madrid Principal Cast Angela Molina, Herbert Knaup, which, including La Amiga (1989) and Amigomío Dimitris Katalifos, Rosana Pastor Length 107 min, 3,080 m Format 35 mm, (1995), have received awards in Spain, Cuba and color, 1:1.85 Original Version German/English/Greek/Spanish Subtitled Germany. She has lived in Germany since 1964, where she Versions English, German, Spanish Sound Technology Dolby SR became a professor at the Academy of Media Arts International Festival Screenings Montreal 2001, Chicago 2001, Cologne (KHM) in 1990. Her films include: the collective Washington Jewish Film Festival 2001, Thessaloniki 2001, Hof 2001, Luenen social drama Zwickel auf Bizyckel (1968), In the 2001, Berlin 2002 (German Cinema), Mar del Plata 2002 (in competition) Country of My Parents (1981), Melek Leaves With backing from Filmstiftung NRW, BKM, Filmboard Berlin- (1985), Days to Remember (1987), Desembarcos Brandenburg, Greek Film Center, Ministerio de Educación (Spain), Eurimages – When Memory Speaks (1989), La Amiga, and German Distributor Basis-Film Verleih, Berlin Anna´s Summer (2001), among others.

World Sales: Media Luna Entertainment GmbH & Co. KG · Ida Martins Hochstadenstrasse 1-3 · 50674 Cologne/Germany AT CA N N E S phone +49-2 21-1 39 22 22 · fax +49-2 21-1 39 22 24 www.medialuna-entertainment.de · email: [email protected] MARKET SCREENINGS

Kino 2/2002 43 Berlin – Sinfonie einer Grossstadt BERLIN SYMPHONY

”I think most people who feel a rush of excitement watching my Berlin film don’t know where it’s coming from. If I managed to give people a sense of that excitement, of allowing them to experience the city of Berlin, then I achieved what I set out to do and proved that I was right all along.“ (Walther Ruttmann) In 1927, Walther Ruttmann shot his majestic documentary Berlin. Symphony of a City. In September of that same year, this milestone of the silent film era was premiered at Berlin’s Tauentzien Palast with a specially composed live soundtrack. Seventy-five years later, Berlin is in the midst of a uniquely vibrant and exciting transition. Ten years after the fall of the Berlin Wall, the re-energized drive of history is bringing forth a new city. People from all over the world and from all walks of life are coming together to form a new metropolis, one reminis- cent in many ways of 1920s Berlin. While retaining some of the original’s basic dramatic principles and characteristics – organizing every shot in the film according to a symphonic structure, depicting one day in the life of the city using several main themes, and shooting on black-and-white 35 mm film – this remake also strives to establish its own cohesive pictorial language and narrative structure. Scene from ”Berlin Symphony“ Scene from (photo © Thomas Schadt)

Genre History Category Documentary Cinema Thomas Schadt was born in 1957 in Nuremberg. During his Photography studies, he Year of Production 2001/2002 Director worked as a film projectionist, photography assistant and theater photographer, followed Thomas Schadt Screenplay Thomas Schadt by studies at the German Film & Television Academy (dffb) in Berlin from 1980-1983. Director of Photography Thomas Schadt He then founded his own film production company, Odyssee-Film, and has been working Editor Thomas Wellmann Music by Helmut since as a freelance documentary filmmaker, photographer and cinematographer. Since Oehring, Iris ter Schiphorst Producers Nico 1991, he has been teaching at various film academies, including the dffb and the Film Hofmann, Thomas Schadt Production Academy Baden-Wuerttemberg in Ludwigsburg. His films include: his graduation film Companies teamWorx, Berlin, Odyssee-Film, Was hab i in Hawaii verloren (1982), Unterwegs nach immer und Berlin Length 82 min, 2,300 m Format 35 mm, ueberall – Eine Deutschlandreise (1985/1986), Der Autobahnkrieg (1991) b&w, 1:1.66 Sound Technology Dolby SR - winner of the Adolf Grimme Award, Grenzgaenge – Die Deutschen auf der With backing from Filmboard Berlin- Suche nach einer Identitaet (1993) and Augenzeugen – Die Fotografen Brandenburg, MFG Baden-Wuerttemberg, BKM Hoepker, Lebeck, Moses und Scheler (1998) together with Reiner Holzemer, German Distributor ottfilm GmbH, Berlin Der Kandidat – Gerhard Schroeder im Wahlkampf ’98 (1998) – winner of the German Television Award for Best Documentary in 1999, Hans im Glueck – Deutsche Banker an der Wall Street (1999), My Way – James Last (2001), Berlin Symphony (2001/2002), and many, many more. World Sales: CINEPOOL · A Dept. of Telepool Europaeisches Fernsehprogrammkontor GmbH Dr. Cathy Rohnke, Wolfram Skowronnek Sonnenstrasse 21 · 80331 Munich/Germany phone +49-89-55 87 60 · fax +49-89-55 87 62 29 AT CA N N E S www.telepool.de · email: [email protected], [email protected] MARKET SCREENINGS 44 Kino 2/2002 Die Datsche HOME TRUTHS

An East German married couple, Elke and Arnold, are attacked in their weekend cottage by two robbers, Asche and Big. It quickly becomes clear however, that there's nothing in the cottage worth stealing. Arnold and Elke become the helpless victims of the crooks’ aggression. But then, unforeseen circumstances fuse attacker and victim together in a tragi- comic union that explodes just as quickly as it came together. Michael Kind, Catherine Flemming (photo © Equinox Film) Michael Kind, Catherine Flemming (photo © Equinox

Genre Drama Category Feature Film Cinema Year of Carsten Fiebeler studied Directing at Production 2001 Director Carsten Fiebeler the ”Konrad Wolff“ Academy of Television Screenplay Carsten Fiebeler, Ulv Jakobsen Director of & Film in Babelsberg. His graduation film Photography Erik Krambeck Editor Christian Revanche was awarded the Panther Prize Nauheimer Music by Tarwater Production Design at the Filmfest Munich in 1999. His short Steffen Gnade Producers Sabine Manthey, Bernhard film Strassensperre won the Panorama Koellisch Production Company Equinox Film, Leipzig, in Short Film Award at Berlin in 1998. In addi- co-production with Koppfilm, Berlin, in cooperation with tion to various commercials and short films, MDR, Leipzig Principal Cast Catherine Flemming, Michael has also directed the TV movie Himm- Kind, Uwe Kockisch, Nils Nellessen Casting Drews Casting lische Helden (2001) and Home Length 86 min, 2,353 m Format 24p-HD Blow-up Truths (2001). 35 mm, color, cs Original Version German Subtitled Version English Sound Technology Dolby SR With backing from Mitteldeutsche Medienfoerderung

World Sales: Equinox Film GmbH & Co · Sabine Manthey Gohliser Strasse 6 · 04105 Leipzig/Germany phone +49-3 41-5 66 56 90 · fax +49-3 41-5 66 56 99 www.equinoxfilm.de · email: [email protected]

Kino 2/2002 45 Dream, Dream, Dream

Joachim and Franco are standing on a cliff in Norway at midnight, watching the sun set. But instead of disappearing behind the horizon, the sun rises again. Both men have reached their destination, and now it is time to return back home again. But they have a long road ahead of them, over 3,000 kilometers, and not much in common. There is tension in the air, but they will have to put up with each other for a while. Joachim is a young, somewhat stiff scientist who is on a journey to fulfill his deceased father’s dream. During the journey, he learns a lot about himself and his much-hated but also much- respected father. Franco, on the other hand, is a fiery-tempered Italian who hates nothing more than "good advice", particularly when it has to do with his status as a father. So the ”bad son“ and the ”bad father“ make their way through thick and thin. The trip back to Hamburg gives them the chance to find themselves and to become good friends. Franco Belviso, Kati Outinen, Manuel Blanc (photo Kati © Integral Film) Franco Belviso,

Genre Road Movie Category Feature Film Cinema Year Anne Alix was born in 1963 in Paris, of Production 2001/2002 Director Anne Alix Screen- where she studied History and Film. play Anne Alix Director of Photography Pascale Granel Also working freelance as a film editor, Editor Marie-Laure Desideri Music by Hinrich Dagefoer, her films include: the shorts Il y Frank Wulff-Raven, Stefan Wulff Production Design Dawn a (1988), La Boutique (1996) and Carman Staub Producers Dagmar Jacobsen, Frédéric Sichler, Paradise (1999), as well as numerous Marc Ruscart, Helmut Dietl, Tuomas Sallinen, Marcel Hoehn documentaries for television, including Production Company Integral Film, Berlin, in co-produc- L’Usine: mémoires croisées tion with Euripide Productions, Paris, Diana Film, Munich, Wide (1993), Il cantastorie (1995), Eye Productions, Helsinki, T & C Film, Zurich, in association Hoˆ pital Silence? (1996), Mémoire with ARTE, Strasbourg Principal Cast Manuel Blanc, Franco vive (1997), and Dream, Dream, Belviso, Kati Outinen, Marina Kobakhidze, Harry Baer, Heinz Dream (2001/2002), her feature debut. Lieven Length 93 min, 2,544 m Format 16 mm Blow-up 35 mm, color, 1:1.66 Original Version French/English/ Finnish/German Subtitled Versions French, German Sound Technology Dolby Stereo With backing from FilmFoerderung Hamburg, Le Centre National de la Cinématographie

World Sales: please contact Integral Film GmbH Bleibtreustrasse 10/11 · 10623 Berlin/Germany phone +49-30-88 55 15 86 · fax +49-30-88 55 28 46 www.integralfilm.de · email: [email protected]

46 Kino 2/2002 Gold Cuts – eine poetische Reise durch die Gegensaetze GOLD CUTS – A POETIC TRAIL THROUGH CONTRADICTION

Is art more than the genius, inspiration and total dedication of one individual? In an age of networked information, can art and the world be enriched through symbiotic networks? In reaction to the ever increasing individualization of society, a new artistic direction is manifested – network art. Not the individual, but rather a well-honed collective forms the creative focal point. Gold Cuts – A Poetic Trail Through Contradiction takes the viewer on an imaginary journey through the spaces and crevices of spiritual city landscapes in contemporary Berlin. Through the professional support of a local artist and an award-winning editor, sixteen international managers have mastered the difficult task of bringing together unspoiled enthusiasm and technical finesse. Gold Cuts – A Poetic Trail Through Contradiction describes the gold from which the threads of everyday life are spun. Scenes from ”Gold Cuts – A Poetic Trail Through Contradiction“ Through Trail ”Gold Cuts – A Poetic Scenes from

Genre Art Category (Semi-)Fictional Documentary Ernst Handl studied at the Academy Year of Production 2002 Directors Team Gold Cuts of Fine Arts in Vienna from 1970-1975. under the artistic direction of Ernst Handl Screenplay Ernst After spending a year on the Greek island Handl, Bernd Wildenmann Director of Photography Hans of Crete, he moved to Berlin in 1980, Rombach Editor Petra Jurowski Music by Marcelo Royo where he became a founding member of Producer Juergen Bock Production Company Otto various art galleries and cultural centers. International Academy, Hamburg Length 55 min, 1,571 m He has initiated many art symposia and Format Digital Video Blow-up 35 mm, color, 1:1.66 events, including the Snake Charming pro- Original Version German Subtitled Version French ject for the Expo 2000 in Hanover and Sound Technology Stereo German Distributor Otto the Guggenheim Museum in New York in International Academy, Hamburg 2001. Gold Cuts – A Poetic Trail Through Contradiction (2002) marks his film debut.

World Sales: Otto International Academy · Juergen Bock Wandsbeker Strasse 3-7 · 22172 Hamburg/Germany phone +49-40-64 61 70 52 · fax +49-40-64 61 80 58 www.gold-cuts.com · email: [email protected]

Kino 2/2002 47 Grosse Maedchen weinen nicht BIG GIRLS DON'T CRY

What does it mean to be seventeen and to have a best friend? It means you spend almost every waking moment with each other, talk all day and night about your favorite topics (love, boys, and sex) and you share fears, desires, joys and pain. Kati is seventeen. Her relationships never turn out as she hopes for – many affairs, but not really a true boy- friend, and her parents are trying to get a grip on things on the home front, but just cannot seem to manage. Steffi, Kati's best friend, seems to have the perfect life. She's pretty, has a sweet boyfriend and an open and functional relationship to her parents – or so it seems. But Kati and Steffi's friendship is put to the test. Kati witnesses her friend's life fall apart, as Steffi finds out by chance that her father is having an affair. In their despair, the two girls try to find out more about this woman and happen to then meet her daughter, Tessa. Steffi focuses all her hate on Tessa, and Kati has to decide how far her loyalties will take her. The situation gets out of control, but big girls don't cry … Anna Maria Muehe, Karoline HerfurthAnna Maria Muehe, Karoline (photo © Gabrielle Meros)

Genre Coming-of-Age Story, Drama Category Feature Film Cinema Maria von Heland was born in Stockholm in Year of Production 2002 Director Maria von Heland Screen- 1965. She studied Journalism in Sweden, Acting in play Maria von Heland Director of Photography Roman Osin Paris and Directing at the California Institute of Editor Jessica Congdon Music by Niclas Frisk, Andreas Mattsson the Arts, during which time she attended classes Production Design Ulrika Andersson Producers Andrea Willson, as an exchange student at the ”Konrad Wolf“ Judy Tossell Production Company Deutsche Columbia Pictures Academy of Film & Television (HFF/B) in Filmproduktion, Berlin, in co-production with Egoli Tossell Film, Berlin Potsdam-Babelsberg. Her films include: the Principal Cast Anna Maria Muehe, Karoline Herfurth, Josefine Domes, award-winning shorts Die Staerkere (1994), David Winter, Tillbert Strahl-Schaefer, Stefan Kurt, Nina Petri, Gabriela Chainsmoker (1997) and Real Men Eat Maria Schmiede, Matthias Brandt Casting Nessie Nesslauer Special Meat (1998), her first feature film Recycled Effects Adolf Wojtinek/VFX: TVT Berlin, Manfred Buettner/Cinesite (1999) and Big Girls Don’t Cry (2002). London Length 87 min, 2,486 m Format 35 mm, color, 1:1.85 Original Version German Subtitled Version English Sound Technology Dolby Digital, SDDS With backing from Filmfoerderungsanstalt (FFA), Filmboard Berlin-Brandenburg German Distributor Columbia Tristar Film GmbH, Berlin

World Sales: Columbia Pictures Inc. · Sal Ladestro 10202 W. Washington Boulevard · Culver City, California 90232/USA phone +1-3 10-2 44 20 73 · fax +1-3 10-2 44 18 01 www.spe.sony.com · email: [email protected]

48 Kino 2/2002 Herz im Kopf HEART OVER HEAD

When his mother died, Jakob was unable to cope with his life. He quit school and moved to Berlin to live with his father. But things didn’t work out, and now, a year later, he packs his bags and returns home to the Frankfurt suburbs to live with his older sister Petra. Although planning on only passing through, Jakob soon realizes he’ll have to help her out. Petra is pregnant, her boyfriend has just left her and she can barely make ends meet for herself and her eight-year-old son. Just after his return home, Jakob meets Wanda, a Polish au-pair girl living there. The more he sees her, the more he falls in love with her. Wanda is attracted to him too, but she’s hesitant to give in to his attentions. She’s responsible for the household of the Gebhard family and takes care of their two kids – but the Gebhards aren’t too pleased to have Jakob hanging around. And Wanda’s friends don’t really like him either. If love is to win, they must both follow their hearts … Tom Schilling, Alicja Bachleda-Curus (photo © Claussen + Woebke Filmproduktion) Schilling, Alicja Bachleda-Curus (photo © Claussen + Woebke Tom

Genre Drama, Comedy Category Feature Film Cinema Michael Gutmann was born in Frankfurt in 1956. Year of Production 2001 Director Michael Gutmann After studying Art and German at the University of Screenplay Michael Gutmann, Hans-Christian Schmid Frankfurt, he transferred to the Academy of Television Directors of Photography Klaus Eichhammer, Pascal & Film (HFF/M) in Munich. He has worked as a screen- Hoffmann Editor Monika Abspacher Music by Rainer writer and comic artist as well as a lecturer at the film Michel Production Design Ingrid Henn, Marion Anna schools in Ludwigsburg, Munich and Cologne. He has Schlauss Producers Jakob Claussen, Thomas Woebke written and directed a number of episodes for TV Production Company Claussen + Woebke series such as Das Nest, Ein Fall fuer zwei and Tatort and Filmproduktion, Munich Principal Cast Tom Schilling, co-authored a number of films directed and co-writ- Alicja Bachleda-Curus, Anna von Berg, Matthias ten by Hans-Christian Schmid, including It’s a Jungle Schweighoefer, Sebastian Kroehnert Casting Anja Dihrberg Out There (Nach fuenf im Urwald, 1995), 23 (1998), Length 89 min, 2,656 m Format 35 mm, color, 1:1.85 and Crazy (2000). His films as director and screen- Original Version German Subtitled Version English writer include: Von Zeit zu Zeit (short, 1990), Sound Technology Dolby SR International Festival How I Got Rhythm (short, 1993), Rohe Screenings Hof 2001 With backing from Ostern (1995), Nur fuer eine Nacht (TV, Filmfoerderungsanstalt (FFA), FilmFernsehFonds Bayern, 1996), Black Ice (Glatteis, TV, 1998) and Heart Filmstiftung NRW German Distributor Constantin Film over Head (Herz im Kopf, 2001). Verleih GmbH, Munich

World Sales: AT CA N N E S Beta Film GmbH · Dirk Schuerhoff Robert-Buerkle-Strasse 2 · 85737 Ismaning/Germany MARKET SCREENINGS phone +49-89-99 56 21 34 · fax +49-89-99 56 27 03 www.betacinema.com · email: [email protected]

Kino 2/2002 49 Nichts Bereuen NO REGRETS

Daniel is 19-years-old and finally has his high school days behind him. After a wonderful summer vacation, he is back in town and ready for life to start happening. Things start out alright, but all his shots seem to backfire. His father organized a boring community service job for him at the church, and his reunion with the love of his life, Luca, was a disaster. Luca is fascinating, breathtaking, exciting, and … way out of his league! But virgin Daniel has chosen her as his partner for his first sexual encounter. Although he made the decision four years ago, Luca still knows nothing about it. She just sees Daniel as a good friend. But things can’t go on like this, so Daniel decides to change his life dramatically. He changes jobs, an act he considers much easier than changing the love of his life. Or maybe not. He then meets Anna, a social worker, and for the first time he realizes that there are indeed alternatives to Luca. And all of the following small and not-so-small catastrophes help him to realize that life is what happens between it all. And that is why there is nothing to regret. Daniel Bruehl, Jessica Schwarz (photo © ottfilm)

Genre Coming-of-Age Story Category Feature Film Cinema Year of Benjamin Quabeck studied Production 2000 Director Benjamin Quabeck Screenplay Hendrik Directing at the Film Academy Baden- Hoelzemann Director of Photography David Schultz Editor Tobias Wuerttemberg from 1996-2000. He also Haas Music by Lee Buddah Production Design Miriam Moeller, works freelance as a film editor. His films Markus Wollersheim Producers Stephanie Wagner, Michael Schaefer include the prize-winning shorts: Wind Production Company Film Academy Baden-Wuerttemberg, Ludwigs- (1996), Weird Wire (1996), Die burg, in cooperation with WDR, Cologne, ARRI Film & TV, Munich Wenigsten wissen das (1997), Principal Cast Daniel Bruehl, Jessica Schwarz, Denis Moschitto, Marie- Hoehlenangst (1998), Ertraenkte Lou Sellem, Josef Heynert, Sonja Rogusch Special Effects ARRI Digital, Angst (1998), Grafenzeit (1998), Angela Reedwisch, Claudia Fuchs Length 103 min, 2,680 m Format 4000 Teile (1999), and his graduation Super 16 mm Blow-up 35 mm, color, 1:1.85 Original Version film and feature film debut No Regrets German Subtitled Version English, Italian Sound Technology (2000). Dolby Digital International Festival Screenings Munich 2001, Berlin 2002 (German Cinema) International Awards Hypo Bank Young Director’s Award 2001, Best First Feature Society of German Film Critics 2002 With backing from Filmbuero NW, MFG Baden- Wuerttemberg, FilmFernsehFonds Bayern, Filmfoerderungsanstalt (FFA) German Distributor ottfilm GmbH, Berlin

World Sales: ottfilm GmbH · Claudia Poepsel AT CA N N E S Kurfuerstendamm 175/176 · 10707 Berlin/Germany phone +49-30-88 71 88 80 · fax +49-30-8 87 18 88 99 MARKET SCREENINGS www.ottfilm.de · email: [email protected]

50 Kino 2/2002 Poem – ”Ich setzte den Fuss in die Luft, und sie trug“ POEM

Poems have the power to uplift. They deal with a certain sense of magical enthusi- asm and truth. Poem is a film that lets the viewer experience this power. A collection of twenty-one poems from German-speaking authors are performed and recited, taking us on a trip through life: its precious experiences and possibilities, expressions of love and friendship, the suffering of change, and the fear of aging, disease, loneliness and death. by Heiner Mueller) Ich kann Dir die Welt nicht zu Fuessen legen Dir die Welt ( Ich kann ”Poem“ Scene from

Genre Literature Category Feature Film Cinema Ralf Schmerberg was born 1965 in Stuttgart and Year of Production 2002 Director Ralf Schmerberg studied Photography. He has received numerous Screenplay Antonia Keinz, Ralf Schmerberg Directors of awards for his photographic work since 1989, inclu- Photography Neelesha Barthel, Ana Davila, Daniel ding distinctions from the ADC Germany as well as a Gottschalk, Ali Goezkaya, Darius Khondji, Franz Lustig, Jo Kodak Newcomer’s Prize, and he has exhibited in Molitoris, Joerg Schmidt Reitwein, Ralf Schmerberg, Robby Frankfurt, Munich, Stuttgart and Hamburg. He made Mueller, Nicola Pecorini Editor Rick Waller Production his feature directorial debut in 1995 with the poetic Design Peter Weber Art Department Producers Ralf documentary Hommage à Noir which was pre- Schmerberg, Eva Maier-Schoenung Production Company sented with a Certificate of Merit at the 1996 Chicago Trigger Happy Productions, Berlin, in co-production with radi- International Film Festival and two Gold Medals at the cal.media, New York Principal Cast Meret Becker, David New York Film Festival in 1997 and was nominated Bennent, Carmen Birk, Anna Boettcher, Klaus Maria Brandauer, for the UNESCO Award. His other works include: John & Larry Gassmann, Christoph Asmus Gerber, Chiring video clips for groups such as Die Fantastischen Vier, Gurong, Marcia Haydée, Sham Lama Tulkur, Luise Rainer, Rosa Die Toten Hosen, and Chaka Khan, various advertise- Coco Schinagl, Herman van Veen, Juergen Vogel Casting Ana ments for companies like Nike, Afri Cola and Davila Casting Length 95 min, 2,608 m Format 35 mm, Mastercard, among others, and the feature film Digital Video, 16 mm, Super 16 mm Blow-up 35 mm, color, Poem (2002). 1:1.85 Original Version German Subtitled Versions English, French Sound Technology Dolby Digital

World Sales: Trigger Happy Productions GmbH · Eva Maier-Schoenung Swinemuender Strasse 121 · 10435 Berlin/Germany phone +49-30-2 84 89 70 · fax +49-30-28 48 97 55 www.triggerhappyproductions.com · email: [email protected]

Kino 2/2002 51 Ein Produzent hat Seele oder er hat keine In January 2002, the director Volker Schloendorff and the producer Horst Wendlandt had an interesting con- versation, which was filmed by the cameraman Andreas Hoefer. Horst Wendlandt, who has received over 38 Golden Screen Awards for his films, talks about his film work since the 1960s. The dialogue between the ”old and young filmmakers“ provides a fascinating spectrum of German cinema of the recent past. Their conversa- tion is complemented with numerous excerpts from some of Wendlandt’s most well-known films. Volker Schloendorff’s proclamation of the necessary development of ”conservative film“ to Autorenfilm is countered by Horst Wendlandt, impressive examples of his success, as well as clips from films by Loriot, Rainer Werner Fassbinder, Ingmar Bergmann, Otto, Edgar Wallace and Karl May. Volker Schloendorff, Horst Wendlandt (photo © Wolfgang Jahnke) (photo © Wolfgang Schloendorff, Horst Wendlandt Volker

Genre Biopic Category Documentary Volker Schloendorff was born in Wiesbaden in 1939. He Cinema Year of Production 2002 made his debut as a film director in 1965 with You Are a Man, Director Volker Schloendorff Director of My Boy (Der junge Toerless) which won the German Film Photography Andreas Hoefer Editors Peter Award in 1966 and the Max-Ophuels Award. In 1979, his adaptation Przygodda, Oliver Weiss Producers Susan of Guenter Grass’ The Tin Drum (Die Blechtrommel) Nielebock, Henry Nielebock Production was the first film by a German director to be awarded a Golden Company Kruemel Film, Berlin Principal Palm in Cannes. A year later, it was the first German film to be Cast Horst Wendlandt, Volker Schloendorff awarded an OSCAR. His other films include: the filming of Length 75 min Format DigiBeta, color Heinrich Boell’s The Lost Honor of Katharina Blum Original Version German Subtitled (Die verlorene Ehre der Katharina Blum, 1975), Version French Germany in Autumn (Deutschland im Herbst, 1976, together with Stefan Aust, Alexander Kluge, et al), Circle of Deceit (1980/1981), Swann in Love (Un amour de Swann, 1984), Death of a Salesman (TV, 1985), A Gathering of Old Men (TV, 1987), The Handmaid’s Tale (1990), Voyager (Homo Faber, 1991), The Ogre (Der Unhold, 1996), The Legends of Rita (Die Stille nach dem Schuss, 1999), Ein Produzent hat Seele oder er hat keine (2002), and many, many more.

World Sales: please contact Kruemel Film GmbH · Henry Nielebock Fasanenstrasse 13 · 10623 Berlin/Germany phone +49-30-3 13 08 43 · fax +49-30-3 12 90 11 www.kruemelfilm.com · email: [email protected]

52 Kino 2/2002 Russian Ark An extraordinary journey through time and Russian history. The Marquis de Custine, an 18th century French diplomat with a love/hate relationship to Russia finds himself on a time trip through St. Petersburg’s fabled Winter Palace – from the times of Peter the Great to the present day. With him, an invisible Russian filmmaker, who is confused about Russia’s position in Europe. Together they encounter life at the Imperial Palace as it was in different ages. From little backstage love affairs in Catherine the Great’s personal theater to the last Grand Royal Ball of 1913. From Peter’s humiliation of his coarse 18th century countrymen to the Nazi’s bloody siege of Leningrad during World War II. It’s as if the Hermitage is a vessel, retaining the Russian soul until a better day, when that country once again knows where it belongs. Russian Ark is a truly unique film – the ”absolute auteur movie“. Alexander Sokurov tells his story in one uninter- rupted steadicam sequence, which was only recorded once. There is no editing, the film unfolds in pure real time. The filmmaker’s vision – featuring more than 2,000 actors and extras – was realized entirely ”in the camera“. Russian Ark was recorded straight to hard disk in the High Definition format, for digital and for 35 mm projec- tion, featuring a live performance by the Mariinsky Theater Orchestra under Valery Gergiev. Scene from ”Russian Ark“ (photo © Egoli Tossell Film / Hermitage Bridge Studio) ”Russian Ark“ (photo Scene from © Egoli Tossell

Genre Art, History Category Feature Film Cinema Year of Alexander Sokurov was born in Russia in 1951. He Production 2002 Director Alexander Sokurov Screenplay studied History and trained until 1979 as a director at the Alexander Sokurov, Anatoli Nikiforov Director of Photography Moscow Film School VGIK. His graduation film The Tilman Buettner Imaging Sergey Ivanov Music by Sergey Yetushenko Lonely Voice of Man (1987) was neither officially Production Design Alexander Sokurov Producers Andrey accepted by the school, nor given the right to be shown – Deryabin, Jens Meurer, Karsten Stoeter Production Companies as was the case with all of his films until the democratic Hermitage Bridge Studio, St. Petersburg, Egoli Tossell Film, Berlin, in co- reforms in the mid to late 80s –-, but did win a Bronze production with Kopp Film, Berlin, Fora Film, Moscow Principal Cast Leopard at Locarno. In 2000, he founded the studio Bereg Sergey Dreiden, Maria Kuznetsova, Leonid Mozgovoi, Prof. Michail for non-commercial feature and documentary films. Piotrovsky Length 96 min 2,627 m Format 35 mm, color, 1:1.85 Sokurov has made numerous prize-winning feature films Original Version Russian Subtitled Versions English, French and documentaries, including: Painful Indifference Sound Technology Dolby SR International Festival (1987), Days of Eclipse (1988), Elegy of Russia Screenings Cannes 2002 (in competition) With backing from (documentary, 1992), Mother And Son (1996), Mitteldeutsche Medienfoerderung, Filmboard Berlin-Brandenburg, BKM, Moloch (1999), Taurus (2001) and Russian Ark Filmbuero NW, FilmFoerderung Hamburg, Filmfoerderung Sachsen-Anhalt, (2002), among others. Kultusministerium der Russischen Foederation German Distributor Delphi Filmverleih GmbH, Berlin

World Sales: AT CA N N E S Celluloid Dreams · Hengameh Panahi 2, rue Turgot · 75009 Paris/France IN COMPETITION phone +33-1-49 70 03 70 · fax +33-1-49 70 03 71 www.celluloid-dreams.com · email: [email protected]

Kino 2/2002 53 Sternzeichen ZODIAC SIGN

Alexander Becker, caring father of two children, loving husband and ambitious lawyer, is offered the deal of a lifetime: if he wins a high-caliber lawsuit for his firm, he will be on his way to a top career in Canada. But then he receives a phone call from the clinic where he put his mentally handicapped brother Fabian after the early death of their mother many years ago. Apparently important renovations at the clinic make it necessary to find temporary accommodations for Fabian for four weeks. Although completely against the idea of his brother coming to live with him, Alexander finally gives in. Unwillingly, Fabian becomes a catalyst for all the unsettled conflicts in his new environment. With Fabian, the suppressed memories of Alexander’s childhood, the reminder of their mutual roots and their painful separation come to fore. Things start to happen very fast, and slowly but surely Alexander begins to understand where he really belongs. Barnaby Metschurat (photo © ANTAEUS Babelsberg GmbH) Barnaby Metschurat (photo © ANTAEUS

Genre Drama, Family Category Feature Film Peter Patzak was born in Vienna in 1945 and Cinema Year of Production 2002 Director studied Psychology and Art History. A painter and Peter Patzak Screenplay Stefan Kolditz Director conceptual artist, he lived in New York from of Photography Andreas Koefer Editor Michou 1968-1970, where he also worked for a TV station, Hutter Music by Martin Todsharow Production making numerous 16 mm and video films before Design Ric Schachtebeck Producer Alexander returning to Vienna. He is best known as the writer Gehrke Production Company ANTAEUS and director of the cult television series Kottan Babelsberg, Potsdam, in co-production with ermittelt (1976-1983). A selection of his other Scala-Film, Halle, in association with MDR, Leipzig films includes: Kassbach (1978), The Principal Cast Barnaby Metschurat, Heikko Uppercrust (Den Tuechtigen gehoert Deutschmann, Karin Giegerich, Vadim Glowna, die Welt, 1981), Wahnfried – Richard und Juergen Hentsch Casting Simone Baer Special Cosima (1988), Killing Blue (1988), Der Effects Exozet, Motionworks Length 97 min, Joker (1988), Shanghai Hotel (1995), 2,650 m Format 35 mm, color, 1:1.85 Original Promised Land (2000) and Zodiac Sign Version German Subtitled Version English (2002), among others. Sound Technology Dolby Digital With backing from Filmboard Berlin-Brandenburg, Mitteldeutsche Medienfoerderung

World Sales: please contact ANTAEUS Medienvertrieb GmbH · Alexander Gehrke Steinstrasse 62 · 14482 Potsdam-Babelsberg/Germany phone +49-3 31-74 00 00 50 · fax +49-3 31-74 00 00 53 email: [email protected]

54 Kino 2/2002 Suche impotenten Mann fuers Leben IN SEARCH OF AN IMPOTENT MAN

Carmen, a successful girl in her late twenties, has had enough. Her boyfriend is cheating on her, and at work her clients seem to believe that sex should be offered as one of the company services. She and her best friend Laura, who has just discovered that she is pregnant, decide that where there is sex, there are lies; the two seem inseparable. After many tears and even more bottles of wine, Carmen comes up with what she believes is the perfect solution to her problems with men. She puts an ad on the Internet asking to meet a sensitive, intelligent man with a good sense of humor … but he must be impotent. What follows is a hilarious, touching story of love and misunderstanding, laughter and tears, Viagra and three pairs of underpants, and an enjoyable roller coaster of a relationship in this joyous romantic comedy for our times. Tim Williams, Katrin Weisser (photo © ZIEGLER FILM GmbH / Co. KG) (photo © ZIEGLER FILM GmbH / Co. Weisser Katrin Williams, Tim

Genre Romantic Comedy Category Feature Film Cinema John Henderson is active as both a Year of Production 2000/2001 Director John Henderson writer and director for television and the Screenplay John Henderson, Sharon v. Wietersheim, based cinema. A selection of his films includes: on the novel by Gaby Hauptmann Director of Photog- The Borrowers (TV, 1992), The raphy Jo Heim Editor Mathias Meyer Music by Richard Last Englishman (TV, 1994), Loch Harvey, Daryl Griffith, Paul Reeves Production Design Ness (1995), Bring Me the Head Matthias Kammermeier Executive Producer Wolfgang of Mavis Davis (1996/1997), Hantke Produced by Regina Ziegler Production Hospital (TV, 1997), Jack and the Company Ziegler Film, Berlin, in co-production with Degeto Beanstalk (TV, 1998), Alice Film, Frankfurt Principal Cast Katrin Weisser, Tim Williams, Through the Looking Glass (TV, Sandra Leonhard, Gabriel Walsh Casting Casting Chiarello 1998), Leprechauns (1999), Sigurd (GER), Susan Shopmaker (USA) Length 92 min, 2,530 m (2000), Los dos bros (TV, 2000), Ogo Format 35 mm, color, 1:1.85 Original Version English Pogo (2000/2001), In Search of an Dubbed Version German Sound Technology Dolby Impotent Man (2000/2001) and SRD With backing from Filmstiftung NRW, Film- many more. foerderungsanstalt (FFA) German Distributor Senator Film Verleih GmbH, Berlin AT CA N N E S World Sales: Peppermint GmbH · Michael Knobloch MARKET SCREENINGS Rauchstrasse 9-11 · 81679 Munich/Germany phone +49-89-9 82 47 08 30 · fax +49-89-9 82 47 08 11 www.seepeppermint.com · www.ziegler-film.com · email: [email protected]

Kino 2/2002 55 Ten Minutes Older

Ten Minutes Older is a film unique in the history of cinema about the most universal of all subjects: time. Each of the distinguished directors has been given exactly ten minutes on the screen for their vision. With complete creative freedom, the directors bring their own unique interpretation of ’time’ to the screen. Using the technology of film in innovative, provocative ways, Ten Minutes Older takes in all human experience: birth, death, love, sex, the drama of the moment, history and ancient myth; and a great variety of locations from the deserts of India to the streets of New York. Combined together in a feature film, their individual work gains new meaning and presents an intriguing and exciting experience for all cinemagoers. ”Ten Thousand Years Older“ – Werner Herzog’s episode of Herzog’s Older“ – Werner Thousand Years ”Ten Minutes Older“ (photo © Lena Herzog) ”Ten

Genre Art, Experimental Category Feature Film Since the early 80s, Ulrich Felsberg has produced and co-produced Cinema Year of Production 2002 Directors more than 50 films. His feature credits include eight films directed by Aki Kaurismaeki, Víctor Erice, Werner Herzog, Jim Wim Wenders, including The Million Dollar Hotel (Silver Bear, Jarmusch, Wim Wenders, Spike Lee, Chen Kaige, et al Berlin 2000) and Buena Vista Social Club, for which he received Music composed by Paul Englishby, performed by the European Film Award in 1999. In 2000, Felsberg was nominated for Hugh Masekela Producers Ulrich Felsberg, Nicolas an OSCAR for Buena Vista Social Club. He has also produced McClintock, Nigel Thomas Production Company Michaelangelo Antonioni’s and Wim Wenders’ Beyond the Road Movies, Berlin, in co-production with Matador Clouds (1995), as well as six Ken Loach films, including Land of Pictures, London, Odyssey Films, London Length Freedom, winner of the European Film Award in 1995. He has work- 132 min, 3,612 m Format 35 mm, color and b&w, ed with such directors as Tomás Gutiérrez Alea, Stephen Frears, 1:1.85 Original Version Chinese/English/Finnish/ Gerardo Herrero, Robert Lepage, Paul McGuigan, Pat Murphy, Manuel Spanish Subtitled Versions English, French Gómez Pereira, Carlos Saura, Julien Temple, and Juanma Bajo Ulloa. Sound Technology Dolby SRD International Felsberg’s most recent projects include Ken Loach’s Sweet Sixteen, Festival Screenings Cannes 2002 (Un Certain and Gurinder Chadha’s Bend It Like Beckham. Ulrich Felsberg Regard) is a member of the board of The European Film Academy and a member of the board of the Ateliers du Cinema Européen (ACE) as well as a member of the British Academy of Film and Television Arts (BAFTA). He is also a board member of the German producers’ association Film 20.

World Sales: Road Sales USA · Jon Kramer, Annouchka Lesoeur AT CA N N E S 3599 Cahuenga Boulevard, West 3rd Floor 90068 Los Angeles, California/USA UN CERTAIN REGARD phone +1-3 23-8 78 04 04 · fax +1-3 23-8 78 04 86 email: [email protected] 56 Kino 2/2002 Verrueckt nach Paris CRAZY ABOUT PARIS

Hilde, Philip and Karl all live in a home for disabled people in Bremen. Hilde helps out in the kitchen, while Philip and Karl make children’s toys in a supervised workshop. Enno, their supervisor, goes about his job, keeping an ironic distance between himself and the proceedings. One day, Hilde, Philip and Karl decide to peel off on their own. Equipped with some luggage, Hilde’s savings and a bundle of toy ducks, they get on a train bound for Cologne. Their very own little excursion! Upon arrival in Cologne, they start selling their wooden ducks in front of the cathedral, which gets them in trouble with a gang of youths. A charitable organization at the railway station takes the trio in and informs the home of their whereabouts. But the runaways manage to slip away unnoticed yet again. They miss their train back to Bremen – making them all the more determined to embark on a proper journey. By now, Enno is on his way to Cologne to retrieve the truants. Meanwhile, Hilde has booked tickets for them all on the night train to Paris. Enno misses the runaways by a hair’s breadth; he leaps into a taxi and drives off after the train, but doesn’t manage to catch up with them until the train stops at Liège. He finally discovers the trio on the train – but it won’t stop again until it reaches Paris … Frank Grabski, Paula Kleine, Wolfgang Goettsch (photo © Diana Richter) Kleine, Wolfgang Frank Grabski, Paula

Genre Comedy, Drama Category Feature Film Cinema Year Pago Balke was born in 1954. After studying Art and of Production 2002 Directors Eike Besuden, Pago Balke Germanic Studies, he founded an alternative school for the edu- Screenplay Eike Besuden, Pago Balke Director of Photog- cationally handicapped. In 1987, he began a career as a cabaret raphy Piotr Lenar Editor Margot Neubert-Maric Music by artist and singer. From 1987-1998, he worked as an actor and Karsten Gundermann Production Design Heike Lauer director at the Blaumeier Atelier in Bremen and has been acting Producer Eike Besuden Production Company Geisberg at the Bremen Theater since 1998. Crazy About Paris Studios, Bremen, in cooperation with NDR, Hamburg, Radio marks his feature film debut. Bremen, ARTE, Strasbourg Principal Cast Paula Kleine, Eike Besuden was born in 1948. After taking a teaching Wolfgang Goettsch, Frank Grabski, Dominique Horwitz, Corinna degree to become a grammar school teacher, he taught for Harfouch, Martin Luettge Casting Tina Boeckenhauer Length seven years. During that time, he also began working freelance 90 min, 2,462 m Format 16 mm Blow-up 35 mm, color, for Radio Bremen and has been directing documentaries since 1:1.66 Original Version German Subtitled Version English 1989. A selection of his television films includes: Dann Sound Technology Dolby Digital International Festival bin ich eben weg, na und? (1989), Endje van’d Welt Screenings Berlin 2002 (Perspective German Cinema) With (1992), Zurueck nach Rom (1994), Irre menschlich backing from Filmfoerderung Niedersachsen, FilmFoerderung (1995), Wenn der Teufel in die Kirche kommt … Hamburg, Filmfoerderung Bremen, Kuratorium junger deutscher (1996), Der vergessene Krieg (1997), Gruene Lady, Film German Distributor Neue Visionen Filmverleih du laechelst mich an! (1999) and Warten auf ein Soergel/Frehse GbR, Berlin neues Leben (2000), among others. Crazy About Paris is his feature film debut.

World Sales: please contact Geisberg Studios Eike Besuden Filmproduktion GmbH · Eike Besuden Friesenstrasse 87 · 28203 Bremen/Germany phone +49-4 21-79 01 00 · fax +49-4 21-7 90 10 20 www.verruecktnachparis.de · www.geisbergstudios.de · email: [email protected]

Kino 2/2002 57 Westend

The friends Mike and Alfred are unemployed. They spend their empty days drinking beer at a road- side snack bar. Half-hearted attempts to find work have not got them anywhere. One day, they take up the proposal of a regular drinking partner, Rasto, to take over a derelict motorway kiosk, but it soon becomes apparent that Rasto doesn’t have his business in order. Shady business relations use criminal techniques to pressure him to pay his debts. In spite of the long odds, Mike and Alfred manage to turn the kiosk into a goldmine, but that can’t save Rasto. When Alfred falls in love with a supermarket check-out girl and neglects his work, while Mike turns into a workaholic, disaster cannot be avoided. The turbulence of working life puts the friendship of the former jobless Mike and Alfred to the test. It isn’t that easy to get what everyone already seems to have: work, money, recognition and the right woman at your side. Markus Mischkowski, Kai Maria Steinkuehler (photo Markus Mischkowski, Kai © Anna C. Wagner)

Genre Comedy, Tragicomedy Category Feature Film Markus Mischkowski was born in 1966 in Cinema Year of Production 2001 Directors Markus Cologne and studied Linguistics in Berlin. Since 1990, Mischkowski, Kai Maria Steinkuehler Screenplay Markus he has been scripting, producing and directing films Mischkowski Director of Photography Klaus Peter together with Kai Maria Steinkuehler, who Schmidt Editor Christine Dériaz Music by The was born in 1967 in Cologne and studied Egyptian Haifaboys Production Design Anja Kuehnle, Ildiko and African Studies from 1986-1989. Their films Mohos Producer Kai Kuennemann Production include: the shorts Einsam und allein (1990), Company Kai Kuennemann Filmproduktion, Cologne Suizid (1991), Struktur B muss sterben Principal Cast Jens Claassen, Katharina Schmaltz, Markus (1993), Von der Aesthetik des Ab- Mischkowski, Kai Maria Steinkuehler, Ralf Richter, Katy schleppens (1993), Die Ordnung der Dinge Karrenbauer Length 89 min, 2,440 m Format Super (1994), Uncle Ben’s Film (1995), Was tun 16 mm Blow-up 35 mm, b&w, 1:1.66 Original (1998), Wolga (2001) and the feature film Version German Subtitled Version English Westend (2001). Sound Technology Dolby SR International Festival Screenings Hof 2001, Ophuels-Festival Saarbruecken 2002, Rotterdam 2002 With backing from Filmbuero NW, Kuratorium junger deutscher Film

World Sales: please contact Kai Kuennemann Filmproduktion · Kai Kuennemann Maybachstrasse 111 · 50670 Cologne/Germany phone +49-2 21-9 12 90 25 · fax +49-2 21-9 12 90 35 www.westend-derfilm.de · email: [email protected]

58 Kino 2/2002 www.german-cinema.de

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: [email protected] 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: [email protected]

Verband Deutscher Filmexporteure e.V./ Association of German Film Exporters please contact Lothar Wedel Tegernseer Landstrasse 75, 81539 Munich/Germany phone +49- 89-6 42 49 70, fax +49-89-6 92 09 10 www.vdfe.de, email: [email protected]

Filmfoerderungsanstalt Große Praesidentenstrasse 9, 10178 Berlin/Germany phone +49-30-27 57 70, fax +49-30-27 57 71 11 www.ffa.de, email: [email protected]

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: [email protected]

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 www.filmboard.de email: [email protected]

FilmFernsehFonds Bayern GmbH Sonnenstrasse 21, 80331 Munich/Germany phone +49-89-5 44 60 20, fax +49-89-54 46 02 21 www.fff-bayern.de email: [email protected]

FilmFoerderung Hamburg GmbH Friedensallee 14–16, 22765 Hamburg/Germany phone +49-40-3 98 37-0, fax +49-40-3 98 37-10 www.ffhh.de email: [email protected]

Filmstiftung NRW GmbH Kaistrasse 14, 40221 Duesseldorf/Germany phone +49-2 11-93 05 00, fax +49-2 11-93 05 05 www.filmstiftung.de email: [email protected]

Medien- und Filmgesellschaft Baden-Wuerttemberg mbH Filmfoerderung Breitscheidstrasse 4, 70174 Stuttgart/Germany phone +49-7 11-90 71 54 00, fax +49-7 11-90 71 54 50 www.mfg.de/film email: [email protected]

Mitteldeutsche Medienfoerderung GmbH Hainstrasse 17-19, 04109 Leipzig/Germany phone +49-3 41-26 98 70, fax +49-3 41-2 69 87 65 www.mdm-foerderung.de email: [email protected]

60 Kino 2/2002 Credits non contractual

Foto: Roman Polanski shooting “The Pianist”, a Studio Babelsberg Co-Production

"Sixteen sound stages, lab on-site, state-of-the-art sound post. 250,000 costumes, 1 million props. Experienced film craftsmen – carpenters, set painters, metal workers, tailors ... 90 years of filmmaking in one of the most exciting neighbourhoods of today. Welcome to Berlin, welcome to STUDIO BABELSBERG.

We appreciate your business." Gabriela Bacher CEO Studio Babelsberg Motion Pictures

ART DEPARTMENT PROPS Scenic design, planning, calculation, construction – we take a Two large warehouses of 80,700 sq ft provide a collection of over project from rough sketch through construction. a million items. Special effects/weapons. We cooperate with the internationally acclaimed special effects specialist Nefzer under WARDROBE the roof of the Nefzer Babelsberg. The costume department contains an assortment of over 250,000 costumes, uniforms and accessories from every conceivable era. SOUND STAGES From the legendary 43.000 sq ft “Marlene Dietrich Stage” to fully MAKE-UP/HAIR equipped 4,500 sq ft television studios with adjoining production The make up department has one of the most extensive collections offices, wardrobe, make-up and dressing rooms. of wigs and hairpieces in Europe. BACK LOT SOUND DESIGN The working facades of more than 26 buildings spread over a total Studio F for feature films, from the most modern digital mixing area of 75,300 sq ft create an European city atmosphere typical studio in Europe, to edit suites, digital audio suites, soundlibrary “Berlin Street”, that was used in productions like “The Pianist” and screening theatres. and “Joe and Max”. FILM LAB PRODUCTION SERVICE Daily processing of colour or b/w negative in 16, 35 and Super Our team supports the realisation of your project from 35mm. Dailies in film or video. pre-production to delivery.

August-Bebel-Straße 26–53 D-14482 Potsdam Tel: + 49(0)331-721-30 01 Fax: + 49(0)331-721 -25 25 [email protected] A Vivendi Universal company. Film Exporters

Members of the Association of German Film Exporters please contact Lothar Wedel · Tegernseer Landstrasse 75 · 81539 Munich/Germany phone +49-89-6 42 49 70 · fax +49-89-6 92 09 10 · www.vdfe.de · email: [email protected]

ARRI Media Worldsales CINEPOOL – Dept. of Telepool Progress Film-Verleih GmbH please contact Antonio Exacoustos jun. Europaeisches Fernsehprogramm- please contact Christel Jansen Tuerkenstrasse 89 kontor GmbH Burgstrasse 27 80799 Munich/Germany please contact Dr. Cathy Rohnke, 10178 Berlin/Germany phone +49-89-38 09 12 88 Wolfram Skowronnek phone +49-30-24 00 32 25 fax +49-89-38 09 16 19 Sonnenstrasse 21 fax +49-30-24 00 32 22 www.arri-mediaworldsales.de 80331 Munich/Germany www.progress-film.de email: [email protected] phone +49-89-55 87 60 email: [email protected] fax +49-89-55 87 62 29 Atlas International www.telepool.de Road Sales GmbH Film GmbH email: [email protected], Mediadistribution please contact [email protected] please contact Frank Graf Dieter Menz, Stefan Menz, Christl Blum Clausewitzstrasse 4 Rumfordstrasse 29-31 DWF 10629 Berlin/Germany 80469 Munich/Germany Dieter Wahl Film phone +49-30-8 80 48 60 phone +49-89-21 09 75-0 please contact Dieter Wahl fax +49-30-88 04 86 11 fax +49-89-22 43 32 Postfach 71 10 26 www.road-movies.de www.atlasfilm.com 81460 Munich/Germany email: [email protected] email: [email protected] phone +49-89-53 27 21 fax +49-89-53 12 97 RRS Entertainment Gesellschaft Bavaria Film International email: [email protected] fuer Filmlizenzen GmbH Dept. of Bavaria Media GmbH please contact Robert Rajber please contact Thorsten Schaumann Exportfilm Bischoff & Co. GmbH Sternwartstrasse 2 Bavariafilmplatz 8 please contact Jochem Strate, 81679 Munich/Germany 82031 Geiselgasteig/Germany Philip Evenkamp phone +49-89-2 11 16 60 phone +49-89-64 99 26 86 Isabellastrasse 20 fax +49-89-21 11 66 11 fax +49-89-64 99 37 20 80798 Munich/Germany email: [email protected] www.bavaria-film-international.de phone +49-89-2 72 93 60 email: [email protected] fax +49-89-27 29 36 36 Transit Film GmbH email: [email protected] please contact Loy W. Arnold, Mark Gruenthal Beta Film GmbH Dachauer Strasse 35 please contact Dirk Schuerhoff german united distributors 80335 Munich/Germany Robert-Buerkle-Strasse 2 Programmvertrieb GmbH phone +49-89-59 98 85-0 85737 Ismaning/Germany please contact Silke Spahr fax +49-89-59 98 85-20 phone +49-89-99 56 - 21 34 Richartzstrasse 6-8a email: [email protected] fax +49-89-99 56 - 27 03 50667 Cologne/Germany www.betacinema.com phone +49-2 21-92 06 90 Uni Media International email: [email protected] fax +49-2 21-9 20 69 69 Filmvertriebsgesellschaft mbH email: [email protected] please contact Irene Vogt cine aktuell Bayerstrasse 15 Filmgesellschaft mbH Kinowelt Medien AG 80335 Munich/Germany please contact Ralf Faust, Axel Schaarschmidt Kinowelt World Sales phone +49-89-59 58 46 Werdenfelsstrasse 81 A Division of Kinowelt fax +49-89-5 50 17 01 81377 Munich/Germany Lizenzverwertungs GmbH email: [email protected] phone +49-89-7 41 34 30 please contact Jochen Hesse, fax +49-89-74 13 43 16 Stelios Ziannis Waldleitner Media GmbH www.cine-aktuell.de Infanteriestrasse 19/Bldg. 6 please contact Michael Waldleitner, email: [email protected] 80797 Munich/Germany Angela Waldleitner phone +49-89-30 79 66 Muenchhausenstrasse 29 Cine-International Filmvertrieb fax +49-89-3 07 96 70 67 81247 Munich/Germany GmbH & Co. KG www.kinoweltworldsales.com phone +49-89-55 53 41 please contact Lilli Tyc-Holm, Susanne Groh email: [email protected] fax +49-89-59 45 10 Leopoldstrasse 18 email: [email protected] 80802 Munich/Germany Media Luna Entertainment phone +49-89-39 10 25 GmbH & Co.KG fax +49-89-33 10 89 please contact Ida Martins www.cine-international.de Hochstadenstrasse 1-3 email: [email protected] 50674 Cologne/Germany phone +49-2 21-1 39 22 22 fax +49-2 21-1 39 22 24 www.medialuna-entertainment.de email: [email protected]

62 Kino 2/2002 Beichstrasse 8, D - 80802 Muenchen, Germany Phone: (89) 391 425 Fax: (89) 340 1291 The Export-Union of German Cinema – A Profile

The Export-Union of German Cinema is the national information EXPORT-UNION’S RANGE OF ACTIVITIES: and advisory center for the export of German films. It was estab- lished in 1954 as the ”umbrella“ association for the Association of Close cooperation with the major international film German Feature Film Producers, the Association of New German festivals, e.g. Berlin, Cannes, Venice, Montreal, Toronto, Feature Film Producers and the Association of German Film San Sebastian, Tokyo, New York, Locarno, Karlovy Vary; Exporters, and operates today in the legal form of a limited company.

Shareholders in the limited company are the Association of Organization of umbrella stands for German sales companies German Feature Film Producers, the Association of New German and producers at international TV and film markets, e.g. Feature Film Producers, the Association of German Film Exporters MIP-TV, MIPCOM, NATPE, AFM; and the German Federal Film Board (FFA).

The members of the board of the Export-Union of Staging of festivals of German Cinema in key cities of the German Cinema are: Jochem Strate (chairman), Rolf Baehr, international film industry (2002: London, Los Angeles, Antonio Exacoustos Jr. and Michael Weber. Madrid, Melbourne, Moscow, New York, Paris, Rome, Sydney, Warsaw); The Export-Union itself has nine permanent staff: • Christian Dorsch, managing director • Susanne Reinker, PR manager Providing advice and information for representatives of • Stephanie Weiss, project manager the international press and buyers from the fields of • Angela Hawkins, publications editor cinema, video, TV; • Andrea Rings, assistant to the managing director • Cornelia Klimkeit, PR assistant • Nicole Kaufmann, project coordinator Providing advice and information for German filmmakers and • Petra Bader, office manager press on international festivals, conditions of participation • Ernst Schrottenloher, accounts and German films being shown, e.g. publication of a comprehensive guide to international film festivals as well as In addition, the Export-Union shares foreign representatives a German film festival guide; in nine countries with the German Federal Film Board (FFA). (cf. page 66) Publication of informational literature on the current The Export-Union’s budget of presently approx. Euro 3.1 German cinema: KINO-Magazine and KINO-Yearbook; million (including projects, administration, foreign representatives) comes from the export levies, monies from the office of the Federal Government Commissioner for Cultural Affairs and the Media and An Internet website (http://www.german-cinema.de) the FFA. In addition, the six main economic film funds offering information about new German films, a film (Filmboard Berlin-Brandenburg, FilmFernsehFonds Bayern, FilmFoer- archive, as well as information and links to German and derung Hamburg, Filmstiftung NRW, Medien- and Filmgesellschaft international film festivals; Baden-Wuerttemberg and Mitteldeutsche Medienfoerderung) have made a financial contribution, currently amounting to Euro 0.25 million, towards the work of the Export-Union. In 1997, the Export- Organization of the selection procedure for the German Union and five large economic film funds founded an advisory entry for the OSCAR for Best Foreign Language Film. committee whose goal is the ”concentration of efforts for the promotion of German film abroad“ (constitution). The focus of the work: feature films, documentaries with The Export-Union is a founding member of the ”European Film theatrical potential and shorts that have been invited to the main Promotion“, an amalgamation of twenty national film-PR sections of major festivals. 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. www.german-cinema.de

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: [email protected] Foreign Representatives

Argentina Italy United Kingdom Dipl. Ing. Gustav Wilhelmi Alessia Ratzenberger Iris Kehr Lavalle 1928 · 1º Piso Angeli Movie Service Top Floor C1051ABD Buenos Aires via Aureliana, 53 113-117 Charing Cross Road phone +54-11-49 52 15 37 00187 Rome/Italy London WC2H ODT/United Kingdom phone + fax +54-11-49 51 19 10 phone +39-06-4 82 80 18 phone +44-20-74 37 20 47 email: [email protected] fax +39-06-4 82 80 19 fax +44-20-74 39 29 47 email: [email protected] email: [email protected] Canada Martina Neumann Japan USA/East Coast 5206 Casgrain · Montreal, Quebec Tomosuke Suzuki Oliver Mahrdt H2T 1W9 · Canada Nippon Cine TV Corporation c/o Hanns Wolters International Inc. phone/fax +1-5 14-2 76 56 04 Suite 123, Gaien House 10 W 37th Street, Floor 3, email: [email protected] 2-2-39 Jingumae, Shibuya-Ku New York, NY 10018/USA Tokyo, Japan phone +1-2 12-7 14-01 00 China & South East Asia phone +81-3-34 05 09 16 fax +1-2 12-6 43-14 12 Lukas Schwarzacher fax +81-3-34 79-08 69 email: [email protected] Flat F, 18/F, Tonnochy Tower A email: [email protected] 272 Jaffe Road USA/West Coast Wanchai Spain Corina Danckwerts Hong Kong SAR, China Stefan Schmitz Capture Film, Inc. phone +8 52-97 30 55 75 Avalon Productions S.L. 2400 W. Silverlake Drive fax +1-2 40-255-7160 C/ Duque de Rivas, 2-2°D Los Angeles, CA 90039/USA email: [email protected] 28012 Madrid/Spain phone +1-3 23-6 68-01 12 phone +34-91-3 66 43 64 fax +1-3 23-6 68-08 53 France fax +34-91-3 65 93 01 email: [email protected] Cristina Hoffman email: [email protected] 33, rue L. Gaillet 94250 Gentilly/France phone/fax +33-1-49 8644 18 email: [email protected] Imprint published by: Editors Angela Hawkins, Susanne Reinker

Export-Union des Production Reports Martin Blaney, Simon Kingsley Deutschen Films GmbH Sonnenstrasse 21 Contributors for this issue Martin Blaney, Kerstin Decker, 80331 Munich/Germany Manfred Geier, Simon Kingsley phone +49-89-5 99 78 70 fax +49-89-59 97 87 30 Translations Lucinda Rennison www.german-cinema.de email: [email protected] Design Group triptychon · agentur für design und kulturkommunikation, Munich/Germany ISSN 0948-2547 Art Direction Werner Schauer Credits are not contractual for any Printing Office ESTA Druck, of the films mentioned in this publication. Obermuehlstrasse 90, 82398 Polling/Germany

Financed by the office of the Federal Government © Export-Union des Deutschen Films Commissioner for Cultural Affairs and the Media. All rights reserved. No reproduction, copy or Printed on ecological, unchlorinated paper. transmission of this publication may be made without written permission.

66 Kino 2/2002 German Film Award … and the nominees are:

BEST PICTURE BEST LEADING ACTRESS

Bella Martha Karoline Eichhorn AT CA N N E S by Sandra Nettelbeck in Der Felsen MARKET SCREENINGS

AT CA N N E S Halbe Treppe Martina Gedeck MARKET SCREENINGS by Andreas Dresen in Bella Martha

Heaven Juliane Koehler by Tom Tykwer in Nirgendwo in Afrika

Nirgendwo in Afrika BEST LEADING ACTOR by Caroline Link

Daniel Bruehl AT CA N N E S

Wie Feuer und Flamme in Nichts Bereuen, Das Weisse Rauschen MARKET SCREENINGS by Connie Walther and Vaya Con Dios

DOCUMENTARY FEATURE Ulrich Noethen AT CA N N E S in Das Sams MARKET SCREENINGS Black Box BRD by Andres Veiel Antonio Wannek AT CA N N E S in Der Felsen and Wie Feuer und Flamme MARKET SCREENINGS A Woman and a Half- Hildegard Knef BEST SUPPORTING ACTRESS by Clarissa Ruge

Annabelle Lachatte AT CA N N E S in Das Weisse Rauschen MARKET SCREENINGS BEST CHILDRENS’ FILM

Hilfe! ich bin ein Fisch Eva Mattes AT CA N N E S in Das Sams MARKET SCREENINGS by Stefan Fjeldmark, Michael Hegner

Marie-Lou Sellem AT CA N N E S Das Sams in Mein Bruder der Vampir, Nichts AT CA N N E S MARKET SCREENINGS by Ben Verbong Bereuen and Hilfe, ich bin ein Junge! MARKET SCREENINGS

DIRECTING BEST SUPPORTING ACTOR

AT CA N N E S Andreas Dresen Martin Feifel MARKET SCREENINGS for Halbe Treppe in Was tun, wenn’s brennt?

AT CA N N E S Dominik Graf MARKET SCREENINGS for Der Felsen Remo Girone in Heaven Caroline Link for Nirgendwo in Afrika Matthias Habich in Nirgendwo in Afrika