SPACEA FILM BY ELSA KREMSER & LEVIN PETER DOGS A production of RAUMZEITFILM in coproduction with IT WORKS

SPACE DOGS A FILM BY ELSA KREMSER AND LEVIN PETER

Narrated by ALEXEY SEREBRYAKOV Produced, written & directed by ELSA KREMSER & LEVIN PETER Coproducer ANNEKATRIN HENDEL Director of Photography YUNUS ROY IMER Sound SIMON PETER, JONATHAN SCHORR Editors JAN SOLDAT, STEPHAN BECHINGER Sound Design JONATHAN SCHORR Original Score PARADOX PARADISE

91 Min - 1:2,39 - Color & B/W - 2K - Dolby 5.1 - Austria, Germany - 2019 OV in Russian - available with English / German / French / Italian / Spanish / Portuguese subtitles

Photos and PressKit downloadable on www.spacedogsfilm.com

International Press Austrian Press World Sales Production Coproduction Gloria Zerbinati Ines Kaizik-Kratzmüller Deckert Distribution Raumzeitfilm Produktion It Works Medien +33 7 86 80 02 82 +43 699 12 64 13 47 +49 341 21 56 638 +43 660 69 94 493 +49 30 44 67 67 01 [email protected] [email protected] [email protected] [email protected] [email protected]

“The dog, bearer of secrets who leaps easily over the dark abysses of time, because for him there is no difference between the fifteenth and the twentieth centuries, knows many things better than we. His left (domesticated) eye looks straight at us; the right (untamed) eye has just a shade less light, seems remote and strange. And yet, we feel, it is precisely this eye in shadow which can see right through us.” W.G. Sebald

LOGLINE How a street dog was send into space and returned as a ghost.

SYNOPSIS , a stray dog, was the first living being to be sent into space and thus to a certain death. According to a legend, she returned to Earth as a ghost and has roamed the streets of Moscow ever since. Following her trace, and filmed from a dog’s perspective, ‚Space Dogs‘ accompanies the adventures of her descendants: two street dogs living in today’s Moscow. Their story is one of intimate fellowship but also relentless brutality, and is interwoven with unseen archive material from the Soviet cosmic era. A magical tale of voyagers scouting for unknown spaces. „An enlightening cinematic essay „Space Dogs is a total work of art – PRESS that overtopped Locarnos ‚Cineasti a foreshadowing of a near future in QUOTES del presente‘ competition.“ which man is no longer the center of FRANKFURTER ALLGEMEINE (DE) the world, but rather a species among many others. Must-See!“ KINO-ZEIT (DE) „Undoubtedly the most exciting film in Locarno. A philosophical, deep „One of the most bizarre film that does what cinema has to do: documentaries ever made!“ showing unseen images.“ DMOVIES (UK) DEUTSCHLANDFUNK (DE) “Like a dog version of Grizzly Man. „As crazy as poetic – probably Brutal but also sensitive – a complex unforgettable. This is undoubtedly work that got under my skin.” one of the highlights of this FILM COMMENT PODCAST (US) Locarno Festival.” LE POLYESTER (FR) “A radical and rigorous film – one of the documentaries of the year.” „Nobody leaves this movie FILMIDEE (IT) unchanged!“ PUBLICO (PT) “The film succeeds in the miracle of creating a cosmic feeling in which we „Space Dogs is the most controversial title are all united, men and animals – a at the Locarno Film Festival. Like a real fairy remarkable film about life taken from tale this film makes your mind wander.” an angle never seen before.” CINEUROPA (EU) INTERNAZIONALE (IT) FESTIVALS

Autumn 2019

Special Mention by Junior Jury and ISPEC Cultura Jury in the ‘Cineasti del Presente‘ competition

LEIPZIG INTERNATIONAL PROGRAMME 2019

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It was a Moscow street dog that was the first animals on the streets are the ever-questing DIRECTOR‘S living being to orbit the Earth some millions of discoverers of unknown worlds. On their obscure years after our planet ‘s creation. And it is this nocturnal prowlings they encounter people who NOTE absurd moment in human history that moved are also strays and outcasts, stranded in the us from the very beginning. We knew that this ruins of time. Elsa Kremser & Levin Peter narrative had not yet reached its conclusion. July 2019 What happened when Laika‘s dead body burnt This film is about the relationship of another up on re-entering the Earth‘s atmosphere? species to us humans. A species that has been used in space history in two ways: both as an As we watched archive footage of a dog in experimental object and as a symbol of courage space looking into the camera for minutes, the and heroism. The dogs had to fulfil mankind‘s central question of the film arose: what do dogs dream by conquering the cosmos for them. Their see in us humans? This question finally led us to story became a fable, a nascent legend, of a today‘s Moscow, where we met Laika‘s possible bitterness that we chose to illustrate. descendants and continued their story through them. During the six months we spent with the ‚Space Dogs‘ is dedicated to these fables and dogs on the streets of Moscow, we often felt legends, to unknown worlds and to their observed and scrutinised by them. Little by little discoverers. we realised that we knew these animals only as part of our world; we didn‘t know ourselves as part of theirs. That‘s why we made street dogs the protagonists of our film. They take the place normally reserved in cinema for humans. We wanted to create a cinematic experience in which dogs lead us through the city. Telling their story means revealing the cracks of a city. The dogs dwell where human control fades, where the city decays and new spaces are created. So these Born 1985 in Wolfsberg/Austria, Elsa Kremser BIOGRAPHY studied Film at the University of Vienna and ELSA KREMSER the Filmakademie Ludwigsburg. As an author and producer, she realized several documen- Director, Author & taries that were shown worldwide. Her diplo- ma film ‚Nebel‘ premiered at the Berlinale. In Producer 2016 she founded the Vienna-based produc- tion company RAUMZEITFILM with Levin Peter. As a directing duo, they are currently working on their first fiction feature ‚The Green Parrot‘, which received the Berlinale Kompagnon Script Award.

FILMOGRAPHY 2019 Space Dogs Born 1985 in Jena/Germany, Levin Peter studied BIOGRAPHY at the Filmakademie Ludwigsburg where he rea- LEVIN PETER lized several documentaries that were shown worldwide. His diploma film ‚Beyond the Snow- Director, Author & storm‘ won the German Upcoming Film Award Producer and was presented as a Guest at the Berlinale. In 2016 he founded the Vienna-based production company RAUMZEITFILM with Elsa Kremser. As a directing duo, they are currently working on their first fiction feature ‚The Green Parrot‘, which re- ceived the Berlinale Kompagnon Script Award.

FILMOGRAPHY 2019 Space Dogs 2016 Beyond the Snowstorm 2016 For Whom I Might Die (short) 2012 A Promise 2010 Sonor (short) 2008 Prestes Maia (short) Alexey Serebryakov is ‚Space Dogs’ omniscient BIOGRAPHY narrator. His voice leads us through the film, ALEXEY SEREBRYAKOV vacillating between the style of scientific diaries and that of cosmic science fiction. Serebryakov Narrator was born in Moscow in 1964 and began his acting career at the age of twelve. Today he is one of ‘s best-known and most sought-after film actors. In 1990 he won the Golden Leopard in Locarno for his role in ‚Accidental Waltz‘, and he attracted international attention as the lead in Andrey Svyaginzev’s ‚Leviathan‘, which premie- red in the Cannes Competition and was nomina- ted for an Oscar. His filmography includes over 150 works. Since 2012 he has been living with his family and several former Moscow street dogs in Canada.

FILMOGRAPHY (selection) 2019 Space Dogs 2019 Van Goghs 2018 McMafia (Serie) 2014 Leviathan 2007 Cargo 200 1990 Accidental Waltz 1988 Peace After War

observing them, the idea of their soul be- The Russian off-text seems very poetic in INTERVIEW comes salient. We had the feeling there hadn‘t translation. Did you have a literary/textual by Karin Schiefer yet been a cinematic encounter with the life basis before you started to develop the cor- Austrian Film Comission of a dog‘s soul. We associated Laika with the responding images? idea that millions of years after the creation July 2019 of the Earth, the first living creature to circle L.P.: The text is based on research. We ma- the planet in a metal capsule was a Moscow naged to acquire notes, scientific publications street dog who had to create a new form of and also diaries by the scientists who worked One can read on the website of your produc- life between the wilderness and humans. We with the dogs back then. This additional level tion company RAUMZEITFILM: „We are hea- thought this was a great parable and took it found its way into the film at a relatively late ding for unconventional forms of cinema that as our approach. We wondered what had hap- stage and ultimately coloured everything due deal with the perception of space and time.” pened once she‘d circled the planet as a dead to the Soviet fashion of formulating scientific Was it, so to speak, a given that your first film body in a metal capsule for a hundred days thought. Some of the scientists‘ publications would involve the cosmos and its exploration? and the capsule had re-entered the Earth‘s at- read like fairy tales. We also met five eye wit- mosphere. We saw enormous potential for a nesses who‘d worked on the programme and Elsa Kremser: Not necessarily. The special re- story in this. who knew the dogs, including Laika. Even their lationship between space and time that our manner of speech and register was flowery, al- production company is dedicated to investi- E.K.: We came upon Laika as we began to get most fairytale-like. So a mixture of what we‘ve gating doesn‘t relate only to the cosmos. In involved with the pack. We wondered how experienced and what we drew from archive ‚Space Dogs‘ we assume a dog‘s perspective. street dogs perceive the city from their eye material came about. If one spend as much time with them as we level. What kind of world is it, this one that have, it alters one‘s perception of space and goes unnoticed by us? And at the same time How did you „cast“ your dogs? time. The same necessary occurs in cinematic we were looking for an abstraction, a meta- space if one spends ninety minutes with dogs. phor, that reflected this. It was during this E.K.: We spent around two months in Moscow phase we first learned that Laika had been choosing a pack. One really can call it casting, What was the basis of your initial ideas about a street dog. Hundreds of dogs were taken since we wanted dogs who would be real pro- this unusual story? from the street and trained. Laika had lived tagonists, that is, strong of character and suffi- on the street for two years. Could it be that ciently sociable with us, yet also actually wild. E.K.: Our very first idea was to concentrate on her descendants still roam the streets today? We searched from the city centre all the way dogs in a pack. There was as yet no talk of Lai- What happened to the creature, now beyond to the last corners of the outermost periphery, ka, the first dog in space. We wanted to deal animate space, in the moment when its body meeting a whole gamut of street dogs while with living beings in an intuitive way, one that was burnt up and scattered into nothingness? experiencing all manner of things and hearing hadn‘t yet been featured in cinema narration, Scientists explained to us that the particles do all manner of stories, some of them presuma- and tell a story with them. indeed sink slowly to Earth. This can take up bly exaggerated, which was by no means a to sixty or even a hundred years. In this mo- bad thing for our script; it was able to grow Levin Peter: A dog‘s heart. A dog soul. If you ment the illuminating idea of Laika‘s spirit on from that. spend a lot of time among street dogs and the streets of Moscow came to us. How did you approach your animal protago- At dawn we suddenly discovered that the L.P.: It just happened. They started out at nists? streets were full of dogs and that there would dawn as usual, turned around, checked where be territory-fights. It was in those moments, we were - as if waiting for us to tell of their L.P.: They speak a very clear language, espe- where humans were absent, that the film took passage through Moscow in the early hours. cially within the group, and we followed this shape. lead. Where the city breaks down and disin- E.K.: We filmed their journey continuously. Of tegrates and new space opens up is where How did you manage filming always at the course it caught us off-guard, too. We‘d de- there are dogs. We tried to scan these places. dogs eye level? cided to follow the dogs without judgement, Whenever we came to an unknown place and so we did so there, too. Without compromise. discovered dogs the procedure was always L.P.: We wouldn‘t have made this film five The spectacular, or the lack of spectacle, was similar: at first just one dog would approach years ago for technical reasons: the camera not our yardstick. At that moment the dogs us, then we‘d make out the others behind it. that can capture the beauty we wanted to show seized control and we merely functioned. At the first meeting with the „scout“ it was in such poor lighting conditions while being immediately apparent whether we could con- light enough for the cameraman to shoot at L.P.: A total loss of control, as if they were de- tinue our visit or whether we‘d do better to a dog‘s eye level over months hasn‘t been monstrating to us who they are and showing leave. around long enough. After a long search, we us something we‘d never considered. The found a stabilisation system that allowed our scene is not just an absolute turning point E.K.: Many packs are at first totally confused cameraman, Roy Imer, to hold and operate the in the film, it also upended the whole shoot if you just stand there, watching and waiting. camera at hip level, and thus at a dog‘s eye for us. Suddenly we were facing new questi- But this also engendered curiosity and another level. In the beginning we were always afraid ons and made to realise we were working on form of contact. Things took a very long time we‘d miss everything. We felt being too slow, something that people in cinemas had never with our pack. Without a basis that had taken we were never there at the right moment. seen before. A boundary had been crossed. root so slowly, we would never have achieved Finally we grasped their itineraries. It was cle- what we did by the end of the shoot, namely ar that it‘s at night that the more interesting E.K.: And it was clear that we were dealing being able to follow them without them al- things occur, and that the people who are out with wild animals. We‘re used to having dogs ways waiting for rewards. at night are more interesting. It all culmina- as pets, guardians, as space dogs who are ted in the interesting last weeks, where the trained for the cosmos and under control. In Your narrative is structured in day and night technology was no longer an obstacle and we that instant it was evident they have a world of sequences. How did this basic scheme come could create precisely what we‘d been drea- their own without human control. about and how did you find suitable locations ming of all along in terms of cinematic expe- in that vast city? rience. And it was precisely at this point that L.P.: We sat all evening with the crew, each the dogs were evidently ready for this, too. of us having to get over the shock. And we L.P.: We quickly noticed that the dogs had reached an understanding that these dogs routines and were predominantly out and There is one very haunting and brutal scene. owed us nothing. They‘re not there to be our about at night and in the early morning. I re- It‘s a gift, in dramaturgic terms, but also best friends, we can‘t impose our morals on member early research-outings where we‘d transgressive. How did you deal with that si- them. They‘re not in this world for the sake of just find a handful of somnolent dogs at noon. tuation? our projections. The film contains incredibly impressive archive Here we owe a lot to Sergei Kachkin, who over- E.K.: Equally interesting is the reason for Laika‘s material: How much work was involved in fin- saw all the archive research for us. He bridged selection: her face had a particularly striking ding and acquiring it? our incomprehension of what is known as the black-and-white pattern and was therefore Russian soul and he opened up the country to ideally suited for newspaper reproduction. L.P.: It was an incredible amount of work. The us. Beauty was an essential factor in the selecti- first impulse came from Laika herself: Just by on of street dogs further to primary physical googling or entering the search term „Laika“ In addition to the dogs, there are other animals criteria. in YouTube you get fantastic material. Which in the film: a chimpanzee and two turtles. raised the question as to what else there How did this constellation come about? L.P.: The dogs who had survived their journey might be in archives. We found out that at into space were the first pop stars in the Soviet the still-extant Moscow Institute for Biomedi- L.P.: Those animals arrived late in our sto- Union. Children were taught in schools how to cal Problems there were indeed film reels that ry because we were very late to learn that handle street dogs because they were now had never been made public. They‘re closely two turtles orbited the moon a year prior to heroes. A creation of legends, the bitterness guarded because you see how the dogs were the . During our research, we of which we wanted to relate. operated on, as we indeed finally show in the were frequently showered with little fairytale film. It was a rough road with a lot of ups and elements, and we tried to integrate them in Where on the continuum between fiction and downs. We built up a good relationship with today‘s Moscow. documented reality would you now classify the people there, time after time believing your film? that the release of the material was imminent, E.K.: It was fascinating to learn which other but, comparable to the play of tensions bet- species were also sent into space. We knew E.K.: I understand viewers who want to know ween Russia and the EU, things vacillated bet- about the chimpanzees, but there were also if what we‘re showing is for real. Nevertheless, ween potential outcomes. rats, birds, spiders, salamanders, rabbits, I‘d prefer it if you didn‘t have to make the dis- cats... And it was supposed to be a fairytale- tinction. It‘s just a film, finally. A dreamy form E.K.: We had to get to know each other. It was like film. We were preoccupied by a sort of with a cosmic narrator whose text is based on nice to see that at some point the bureaucracy Noah‘s Arch idea that we wanted to convey. In facts connected with the story of real street ended and that we could talk to the people our research into chimpanzees in Moscow, we dogs. about what we were planning. That‘s how it learned that chimpanzees are often attractions worked out. There are people working the- at children‘s birthdays or private parties. We L.P.: We‘d prefer if it was marked as „film“ or re who know the contents of the archive in- learned of a chimpanzee and his show trainer, „fairytale“. I also think categorisation does the side out and really protect what they consider and found out that the chimpanzee had also film a disservice because it can‘t fulfil expecta- worth protecting. It was a learning curve for become a city-dwelling species. tions in either direction. Anyone who goes to us, too, getting to respect the fact that things the cinema saying „I‘m going to watch a film“ aren‘t always handled the way we think they L.P.: It‘s interesting, too, that the Moscow has got the right idea. will be. It‘s not necessarily a propaganda issue. chimpanzee is to be categorised in terms of We sat in the canteen with them on at least ten entertainment. The of the late fif- occasions, then came the day when they said: ties and sixties was also a matter of popular We have something that might interest you... enthusiasm and entertainment for the people.

no man’s land between fiction and documen- and mastered space where everything seems SHORT ESSAY tary. At its very beginning, a place where all to follow some rules both social and aesthetic. by Eugenio Renzi great filmmakers gathered to ask themselves So, finally, the film works strangely cerebral- film critic „Il manifesto“ & some very simple and yet never totally answe- ly between these interacting topics. In the former editor „Cahiers du cinéma“ red questions, like, what is cinematic space? streets we experience some kind of present, July 2019 one both scary and beautiful, where things can Surprisingly enough, from the very first images change at any moment and where there is lite- in the Moscow living area, following dogs rally no time for reflection but only for action. ‚Space Dogs‘ is a venture taking two different seems to be the most natural thing to do The images of the experiments on animals are directions. The first occurs along the outskirts with a camera. But natural doesn‘t necessarily our past. But this past, although it is behind of contemporary Moscow. The other goes mean serene or idyllic. What appears to be a us in time, is still unknown; we still have to back to Soviet times, to the beginning of the calm morning stroll turns into a brutal hunting unpack and process it. Over and above this, the Space Race Era. Both teach us that, prior to scene leaving the spectator in a traumatic state voice-over functions like a sort of super-ego involving humans, the space race was between of wondering, similar to the experience of a that possesses a superior kind of knowled- races: dogs on the Communist side, apes for peeping tom suddenly witnessing a murderer. ge and awareness but seems detached and the „free world“. Plus there were some The camera itself displays some kind of wild dispassionate. species... In the intro, an authorial narrator re- behavior. These protagonists force the film to calls how legendary space dog Laika was taken be as unpredictable as a wild animal and to So, the question becomes: what is the most from the streets of Moscow and sent to space. move further on four legs: part documentary scary place to find oneself? That where animals And how the heat, during the journey back to and part fiction, part past and part present. and humans interact freely, in liberty? Or the Earth, reduced her body to ashes. A „legend“ one where the animal is tamed and studied? – continues the voice – intoning that her ghost Elsa Kremser and Levin Peter decided to bring Or, finally, the abstract and final level, where is back on the streets. Although the film is a some additional erraticness to the long shots there is no image, no human or animal and sort of mystic quest for Laika and others space with the dogs, adding a sort of scientific diary just a voice? dogs‘ souls, it is equally a very realistic and that is composed of two different layers: the documentary work following a pack of actual archival (images of Soviet scientific experi- street dogs in their every day, albeit mostly ments on dogs) and fictional (the above-men- nocturnal, wanderings. tioned voice-over by famous Russian actor Alexey Serebryakov). The effect of these three Having dogs as main characters is for sure a elements is at once dialectic and harmonic. challenging path. Especially when there is no The two images harmonise as opposites. The intention of manipulating them in order to fit streets of Moscow are wild and dirty, dange- a narrative of any given kind, but stalking the rous and chaotic. They describe our present as pack and letting the dogs create their own a natural state, but not a romantic one. Again, tales. On the other hand, ‚Space Dogs‘ is in- a dichotomy, this time between society and deed a classical film. Exploring new ways of total war. And thus very similar to an apoca- filming locates it at the edge of cinema, in a lyptic tale. The labs are on the contrary a clean

At the Institute, the dogs were habituated to were broadcast worldwide. The dogs became FACTS extreme conditions by intensive tests in a cen- cult figures. They featured on Soviet match- trifuge, an underwater capsule and aboard boxes and stamps and became the heroes of THE SOVIET COSMONAUT-DOGS a plane. Tests were considered successful if numerous comics and children‘s books. Their the animals were able to endure twenty days story, and even contact with street dogs, in an equipped isolation chamber. The dogs‘ became part of the Russian school curriculum. carotid artery was externalised by operation From then on, Belka and Strelka lived with in order to measure their pulses during flight. Institute staff. Both dogs had puppies after „In order to survive in space, we had to In later missions they were fed artificially by their space voyage, which was considered determine where the limits of life lie.“ means of a stomach tube. proof that they had returned from space in Dr. Oleg Gazenko (1918-2007) good health. Their puppies also became Former head of Moscow‘s Institute for Biomedical Problems The space program was pursued in secret. prestigious objects. In the midst of the Cold After several attempts, Laika was the first dog War, Soviet President Khrushchev gave First to reach Earth‘s orbit in 1957. Preparations Lady Jackie Kennedy a puppy born to Cosmo- The fired at least forty-eight for her space flight had lasted a year. A parti- naut Strelka. dogs into space between 1951 and 1966 to cipating scientist wrote of her: „Laika behaves pave the way for humans. Their exact num- sensibly, she does not waste energy, does not Canine space flights continued until 1966. ber is still unclear to this day. Only about make hasty movements in the isolation cham- The last mission, „Kosmos-110“, with dogs thirty dogs survived the flights. The animals ber, and reacts actively to humans. There is Ugolyok and Veterok lasted twenty-two days - had been captured on the streets of Moscow. nothing redundant in her behaviour.“ It was the hitherto-longest space flight. Never before When the Americans were doing initial experi- not until 2006 that a biologist admitted there had an Earthly creature been so far from its ments with apes, the then-director of the Insti- wasn‘t enough time to construct a system for home planet. They returned alive but had lost tute of Aerospace Medicine went in search of her return and that her death was considered fur and suffered from serious muscle atrophy. a Soviet counterpart. He visited Russia‘s most a certainty. Breathlessness, an increased pulse famous circus to discuss the secret program rate and changes in the ECG were noted Manned space travel succeeded the era. Juri with a tamer. The latter was ardently opposed during the flight, and it is assumed that Laika Gagarin successfully completed his first space to using primates, saying they would react died of overheating after only five hours in flight in 1961. In 1967, Vladimir Komarov was too emotionally, and advised him to try space space. The dog‘s corpse orbited Earth in the first human to die during a space mission. travel on street dogs. From circus experien- for 162 days before completely After eighteen orbits he was killed on impact ce he knew that they were tougher and more burning up on re-entering the atmosphere. when reaching Earth. For this reason he is stress resistant than pedigree dogs or other known as the „human Laika“. animals. The space agency took his advice It was finally in 1960 that the dogs Belka and and began to search the streets of Moscow for Strelka became the first beings to visit space suitable strays. Small dogs were chosen as they and returned to Earth alive. They orbited our would fit in the space capsules. A determined planet eighteen times. After their return they and eager facial expression was an important were celebrated as Soviet heroes. Images of criterion to guarantee media effectiveness. the and at press conferences

MAIN CREW

Narrated by Funded by A production by ALEXEY SEREBRYAKOV BUNDESKANZLERAMT ÖSTERREICH SEKTION II KUNST UND KULTUR RAUMZEITFILM MITTELDEUTSCHE MEDIENFÖRDERUNG Produced, written & directed by KURATORIUM JUNGER DEUTSCHER FILM in coproduction with ELSA KREMSER & LEVIN PETER MEDIENBOARD BERLIN-BRANDENBURG IT WORKS MEDIEN KÄRNTNER FILMFÖRDERUNG Coproducer FILM- UND MEDIENSTIFTUNG NRW – GERD RUGE STIPENDIUM World Sales ANNEKATRIN HENDEL THÜRINGER FILMFÖRDERUNG DECKERT DISTRIBUTION KOMPOSITIONSFÖRDERUNG DOK.FEST MÜNCHEN Director of Photography YUNUS ROY IMER Developed in the Framework of START-STIPENDIUM DES BUNDESKANZLERAMTES FÜR FILMKUNST Sound EURODOC SIMON PETER, JONATHAN SCHORR NIPKOW PROGRAMM MDM KONTAKT TAG Editors ROUGH CUT SERVICE JAN SOLDAT, STEPHAN BECHINGER In Cooperation with Sound Design ORF FILM-/FERNSEHABKOMMEN JONATHAN SCHORR RBB RUNDFUNK BERLIN-BRANDENBURG

Original Score Supported by JOHN GÜRTLER & JAN MISERRE ARRI INTERNATIONAL SUPPORT PROGRAM www.spacedogsfilm.com ÖSTERREICHISCHES KULTURFORUM MOSKAU www.facebook.com/spacedogsfilm Artwork AFC – AUSTRIAN FILM COMMISSION www.instagram.com/spacedogs_film KONSTANTINOS FRAGKOULIS - ASTERISK GERMAN FILMS www.twitter.com/raumzeitfilm