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GFQ3_18_Druckvorlage.qxp_Layout 1 25.07.18 14:47 Seite 1 GFQ GERMAN FILMS QUARTERLY THE SUMMER ISSUE IN LOCARNO Concorso internazionale GERMANY. A WINTER’S TALE by Jan Bonny Piazza Grande WHAT DOESN’T KILL US by Sandra Nettelbeck Concorso Cineasti del presente ALL GOOD by Eva Trobisch IN VENICE In Competition NEVER LOOK AWAY by Florian Henckel von Donnersmarck DIRECTORS Angela Schanelec & Robert Schwentke PRODUCERS Schiwago Film ACTOR Bjarne Mädel ISSUE 3-2018 GFQ3_18_Druckvorlage.qxp_Layout 1 25.07.18 14:47 Seite 2 CONTENTS GFQ 3-2018 18 20 23 24 26 28 29 30 32 35 36 36 2 GFQ3_18_Druckvorlage.qxp_Layout 1 25.07.18 14:47 Seite 3 GFQ 3-2018 CONTENTS IN THIS ISSUE PORTRAITS NEW DOCUMENTARIES LIFE IN THE TIME OF NO BELONGING DEFENDER OF THE FAITH A portrait of director Angela Schanelec .......................................... 4 Christoph Röhl ................................................................................. 34 AT HOME IN TWO WORLDS DIE GEHEIMNISSE DES SCHÖNEN LEO A portrait of director Robert Schwentke ......................................... 6 THE SECRETS OF HANDSOME LEO Benedikt Schwarzer .............. 34 HANDS ON PRODUCERS STILLER KAMERAD A portrait of Schiwago Film .............................................................. 8 SILENT COMRADE Leonhard Hollmann .......................................... 35 IN SEARCH OF NEW CHALLENGES SUNSET OVER MULHOLLAND DRIVE A portrait of actor Bjarne Mädel ....................................................... 10 Uli Gaulke .......................................................................................... 35 NEWS & NOTES ................................................................................ 13 NEW SHORTS NEW FEATURES 32-RBIT Victor Orozco Ramirez ...................................................... 36 ALLES IST GUT DARÍO Manuel Kinzer, Jorge A. Trujillo Gil ................................... 36 ALL GOOD Eva Trobisch .................................................................. 18 LANDSCHAFTEN IN ZEITEN DES VERRATS BREAKDOWN IN TOKYO LANDSCAPES IN TIMES OF TREASON Reinaldo P. Almeida ......... 37 Zoltan Paul ....................................................................................... 19 DAS ENDE DER WAHRHEIT UPCOMING FILMS BLAME GAME Philipp Leinemann ................................................. 20 24H EUROPE – WE ARE THE FUTURE ENDE NEU various directors ............................................................................. 38 THE NEW END Leonel Dietsche ..................................................... 21 BERLIN ALEXANDERPLATZ Burhan Qurbani ................................. 38 ES IST AUS, HELMUT! THAT’S IT, HELMUT Petra Lüschow ................................................ 22 DIALOGUE EARTH Hank Levine ...................................................... 38 GRÜNER WIRD’S NICHT GARAGE PEOPLE Natalija Yefimkina .............................................. 39 AS GREEN AS IT GETS Florian Gallenberger ................................. 23 DIE GEBURT DES LEOPARDEN Luigi Falorni ................................. 39 HERRLICHE ZEITEN OUTMASTERED Oskar Roehler ....................................................... 24 DER GOLDENE HANDSCHUH Fatih Akin ........................................ 39 IN THE MIDDLE OF THE RIVER HACKERVILLE Damian John Harper ........................................................................ 25 Igor Cobileanski, Anca Miruna Lazarescu ...................................... 40 MACKIE MESSER – BRECHTS DREIGROSCHENFILM ICH WAR ZUHAUSE, ABER … MACK THE KNIFE – BRECHT’S THREEPENNY FILM Angela Schanelec ............................................................................ 40 Joachim A. Lang ............................................................................. 26 IM NIEMANDSLAND Florian Aigner ................................................ 40 SO VIEL ZEIT COMEBACK Philipp Kadelbach ........................................................ 27 DER KUSS DES HONIGDACHSES Bastian Gascho ............................................................................... 41 SO WAS VON DA RIGHT HERE RIGHT NOW Jakob Lass ............................................. 28 PELIKANBLUT Katrin Gebbe ....................................................... 41 TABALUGA RELATIVITY Mariko Minoguchi ........................................................ 41 Sven Unterwaldt ............................................................................... 29 SWEETHEARTS Karoline Herfurth .................................................. 42 WAS UNS NICHT UMBRINGT WHAT DOESN’T KILL US Sandra Nettelbeck .................................. 30 TRAUMFABRIK Martin Schreier ..................................................... 42 WERK OHNE AUTOR ZU WEIT WEG Sarah Winkenstette ................................................. 42 NEVER LOOK AWAY Florian Henckel von Donnersmarck .............. 31 WINTERMÄRCHEN Shareholders & Supporters ............................................................ 45 GERMANY. A WINTER’S TALE Jan Bonny ......................................... 32 Film Exporters ................................................................................. 46 ZWEI HERREN IM ANZUG TWO MEN IN SUITS Josef Bierbichler ............................................ 33 Imprint .............................................................................................. 47 3 GFQ3_18_Druckvorlage.qxp_Layout 1 25.07.18 14:47 Seite 4 DIRECTOR’S PORTRAIT GFQ 3-2018 © Joachim Gern LIFE IN THE TIME OF NO BELONGING A PORTRAIT OF DIRECTOR ANGELA SCHANELEC 4 GFQ3_18_Druckvorlage.qxp_Layout 1 25.07.18 14:47 Seite 5 GFQ 3-2018 DIRECTOR’S PORTRAIT n Angela Schanelec’s film PASSING open up the chance to discover something granted to the performers here, we become SUMMER a young photographer says unusual in the ordinary. aware that Schanelec’s origins lay in theater that it is possible to see things in photos acting. Again and again, astonishing mo- that are supposed to be hidden. Movies Schanelec, who has been working for a long ments full of intimacy are created, which Iby the filmmaker, born in 1962, consist of time together with cameraman Reinhold gently protect the secrets of the characters many such photographs – 24 per second – but Vorschneider, sends feelers into the very and their actors, nonetheless. what makes her work extraordinary is the places where nothing is apparently happen - intensity with which such photographs gaze ing. Then she shows the many small wounds With MARSEILLE and ORLY, Schanelec also back at us. that have collected there. In THE DREAMED made two key films of her œuvre in France. PATH there are many such wounds and des - “For a very long time, I idealized France, A cinematic language oscillating between pairing attempts to hide them. Only a young which caused me to feel equally attracted and longing and alienation is already established girl in a swimming pool thinks about how the excluded. The main characters in the films I in her graduation film from the German Film wounds might be healed. She uses saliva, made in France share with me that sense of and Television Academy Berlin, I STAYED IN licking the wounded knee of a paralyzed being an outsider there.” The business of be- BERLIN DURING THE SUMMER. Examining boy. This is a rare moment of physical contact longing in German cinema is very similar as the relationship problems of two young in Schanelec’s work. Usually, she depicts far as Schanelec is concerned. On the one couples, the film manifests the very emotions hesitation when it comes to touching, and hand, together with Christian Petzold and which generally tend to operate in con - shows those substitute actions that betray Thomas Arslan, she is regarded as a founding cealment. Schanelec’s films offer no ap- more about the characters than any con - member of the so-called Berlin School. They proach to a solution, they pose questions. scious deed. This type of surrogate can be studied together in Berlin with teachers like Talking about what it means to understand a found, for example, in the recurrent dance Harun Farocki. On the other hand, it is very film, she says: “I think it means triggering a scenes in her films. “When a character is difficult to compare her films with those of question, and then the answer, if there is one, dancing, the body is perceived in a special her colleagues. She is more clearly radical raises another question; which means, I sup- way; it reveals something that has been con- and individual in her avoidance of narrative pose, committing yourself to a process that cealed until that point, an expression that I, as dictates. Films like MARSEILLE or PASSING leads beyond the film and, in contrast to it, the director, initiate but can only influence SUMMER have occasionally been cited as never really comes to an end.” partially later on, which is something that I master pieces of recent German film, and yet want to abandon myself to.” Schanelec’s works continue to divide the In her eight feature films to date, Schanelec critics even now. This is also due to her in - observes daily patterns and the pressure of This openness to abandoning oneself is also defatigable consistency in questioning what time passing in episodic movements. Often, reflected in the use of on-camera sound we hear, see and think about things. we get to know a group of people and spend that defines Schanelec’s cinema. Individual time with them. In AFTERNOON, for example, scenes not only exist in relation to a bigger Roughly speaking, all her work is about an which is loosely based

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