EXPORT-UNION OF GERMAN CINEMA 1/2002

AT opening film in competition HEAVEN by

ACCEPT DIVERSITY Interview with Dieter Kosslick

GERMAN BOX OFFICE RECORD Michael ”Bully“ Herbig’s MANITOU’S SHOE

SPECIAL REPORT Film Funding in : The Big Six Kino Giovanni Ribisi,Giovanni GmbH) Cate Blanchett Pool (photo © X Filme Creative

GERMAN CINEMA Illustration: Angela Hawkins Foto/AD: Werner Schauer Werner Angela Hawkins Foto/AD: Illustration:

The Broadway to Business.

European Film Market · debis Haus · Mercedes-Benz Showroom phone 0 30-2 53 58-3 72/-3 73 · fax 0 30-2 53 58-3 74

Export-Union des Deutschen Films · · phone: +49-89-5 99 78 70 · Filmförderungsanstalt · Berlin · phone: +49-30-27 57 70 BERLINALE 2002

Willkommen auf der Berlinale 2002 – zu dem Event der Filmbranche. Erleben Sie Stars und Sternchen, tauchen Sie ein in die schillernde Szene und genießen Sie die Faszination Film. KODAK Meeting Point Treffen Sie Kodak im Meyerbeer Coffee-Shop, im Gebäude der Berliner Volksbank, Eichhornstraße 1, direkt neben dem European Film Market.

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32 Das Netz Lutz Dammbeck 33 Poem Ralf Schmerberg 34 Usedomer Maler Heinz Brinkmann 34 Weihnachten 6 Regional Film Funding in Germany Marc-Andreas Bochert The ”Big Six“ 35 Zersetzung der Seele Nina Toussaint, Massimo Iannetta 12 ”Accept Diversity“ Interview with Dieter Kosslick, Director of the Berlin International Film Festival 36 The 100 Most Significant German Films (Part 4) 14 The Realist Director’s Portrait Dominik Graf 36 Unter den Brücken UNDER THE BRIDGES 15 No Superfluous Sentences, Helmut Käutner No Lack of Emotion 37 : Siegfried (Teil 1) Director’s Portrait Hermine Huntgeburth NIBELUNGEN: SIEGFRIED (PART 1) 18 ”Bringing German Films Back 38 Die Nibelungen: to the Forefront“ Kriemhilds Rache (Teil 2) World Sales Portrait ARRI Media Worldsales NIBELUNGEN: KRIEMHILD’S REVENGE (PART 2) 20 Company with an Fritz Lang Unmistakeable Identity 39 Der letzte Mann Producers’ Portrait zero film THE LAST MAN Friedrich Wilhelm Murnau 22 KINO news 40 Der müde Tod DESTINY Fritz Lang 28 In Production

28 Bibi Blocksberg Hermine Huntgeburth 42 New German Films 28 Gott ist tot Kadir Sözen 42 Absolut Warhola AT BERLIN 29 Harte Brötchen PERSPECTIVE Stanislaw Mucha Tim Trageser GERMAN CINEMA 43 Am Rande der Zeit – 30 Heimat 3 Männerwelten im Kaukasus Edgar Reitz ON THE EDGE OF TIME – MALE 30 Junimond DOMAINS IN THE CAUCASUS Hanno Hackfort Stefan Tolz 31 Die Madonna von Vlatodon 44 Baader AT BERLIN Mirjam Kubescha Christopher Roth IN COMPETITION 32 Nackt 45 Babij Jar Doris Dörrie Jeff Kanew CONTENTS

61 Klassenfahrt AT BERLIN FORUM SCHOOL TRIP Henner Winckler 62 Knallharte Jungs MORE ANTS IN THE PANTS Granz Henman

AT BERLIN 46 BELLARIA – so lange wir leben! 63 Königskinder SPECIAL BELLARIA – AS LONG AS WE LIVE! Anne Wild PRESENTATION Douglas Wolfsperger 64 Der Mann von nebenan 47 Der Brief des Kosmonauten THE MAN NEXT DOOR THE COSMONAUT’S LETTER Dror Zahavi Vladimir Torbica 65 Missing Allen – Wo ist Allen Ross? 48 Es geschah im August – MISSING ALLEN - THE MAN WHO Der Bau der Berliner Mauer BECAME A CAMERA BUILDING THE BERLIN WALL – Christian Bauer ANATOMY OF A POLITICAL CRISIS 66 Nicht Fisch, nicht Fleisch Ullrich Kasten NEITHER FISH, NOR FOWL 49 Der Felsen Matthias Keilich AT BERLIN A MAP OF THE HEART 67 Nicole und Jean IN COMPETITION Dominik Graf NICOLE AND JEAN 50 Feuer, Eis und Dosenbier Juliette Cazanave Matthias Dinter 68 Nirgendwo in Afrika 51 Fickende Fische AT BERLIN PERSPECTIVE DO FISH DO IT? Caroline Link GERMAN CINEMA Almut Getto 69 GERMAN BOX 52 Germanikus MANITOU’S SHOE OFFICE RECORD Hanns Christian Müller Michael ”Bully“ Herbig OVER 10 MILLION ADMISSIONS 53 Die grüne Wolke 70 Semana Santa THE LAST MAN ALIVE Pepe Danquart Claus Strigel 71 Starbuck – Holger Meins 54 Halbe Treppe Gerd Conradt AT BERLIN IN COMPETITION GRILL POINT 72 Tattoo Andreas Dresen Robert Schwentke

AT BERLIN 55 Heaven 73 Unterwegs in die nächste Dimension OPENING FILM/ Tom Tykwer NEXT DIMENSION: MIND OVER MATTER IN COMPETITION 56 Herz Clemens Kuby Horst J. Sczerba 74 Viel passiert – Der BAP Film

57 Hilfe, ich bin ein Junge! ODE TO AT BERLIN AT BERLIN HELP, I’M A BOY Wim Wenders OUT OF COMPETITION CHILDREN’S FILM FEST Oliver Dommenget 58 Die Hoffnung stirbt zuletzt 77 Film Exporters AT BERLIN FINAL HOPE GERMAN CINEMA Foreign Representatives Marc Rothemund 79 59 Hundsköpfe 79 Imprint DOG HEADS Karsten Laske

AT BERLIN 60 Jochen – Ein Golzower FORUM aus Philadelphia JOCHEN – A GOLZOWER FROM PHILADELPHIA Barbara & Winfried Junge REGIONAL FILM FUNDING IN GERMANY

German filmmakers are the envy of their colleagues around Moreover, State Minister of Culture Julian Nida-Rümelin, Europe because of the plethora of film subsidy programs at whose ministry also finances the annual German Film Awards (with national and regional level. Euro 2.8 million) and the German Short Film Awards (with Euro 150,000), has an additional Euro 3.6 million for backing culturally In fact, in 2000, some Euro 190 million was at the public funds’ innovative film projects and also makes a financial contribution to disposal to invest in all aspects of the film and television industry – the Council of Europe’s pan-European co-production fund from the development of screenplays through production and EURIMAGES, while the Kuratorium junger deutscher distribution to cinema modernization programs and the promo- Film, a public foundation funded by the states, places particular tion of German cinema and television abroad as well as running emphasis on the backing of newcomer filmmakers and children’s location offices to promote their respective locations and local films. infrastructures. The location offices offer a variety of information on shooting in the area, including the organization of location In addition, first-time filmmakers, short films and more experi- tours in the region. mental works are catered for by a network of regionally organi- zed, culturally-oriented film funds such as Filmbüro NW, In short, German cinema couldn’t survive without these film sub- Filmbüro Mecklenburg-Vorpommern and Kino & sidy programs which channeled some Euro 108 million of their Filmbüro Hessen. Euro 190 million total budget into production support. The - tial role played by the public funds becomes even more apparent Admittedly, Germany’s federal structure has both advantages and when one realizes that the production volume of the domestic disadvantages. On the one hand, a German filmmaker can travel film production in Germany has been between Euro 179 million from Schleswig-Holstein in the far north of the country to Baden- and Euro 205 million - meaning that around two thirds of the Württemberg in the deep south-west and stop off at all of the budgets for German feature films have come from the various film various regional film funds in between to scrape his budget subsidy programs. together.

Although this article will be focusing on the six major On the other hand, critics argue, the result can often be a hotch- economically-oriented regional funds – Filmboard Berlin potch of compromises, a German road movie in the worst sense Brandenburg, FilmFernsehFonds Bayern, Film- of the word, the plot making sudden and unexplained relocations Förderung , Filmstiftung NRW, MFG just in order to meet a particular fund’s requirements. Baden-Württemberg, and Mitteldeutsche Medien- förderung – one shouldn’t ignore the other players in this Such aberrations, though, have become more of the exception complex funding landscape, whose support programs comple- since the heads of the ”Big Six“ have taken various moves to ment and supplement those of the ”Big Six“ to provide financing harmonize their guidelines and funding application forms as well for domestic features and international co-productions. halting the spread of artificial road movies by coming to so-called ”bartering agreements“ in which the demand for proof of an The Berlin-based German Federal Film Board (Film- ”economic effect“ in each region can be waived if there is förderungsanstalt/FFA), for example, is particularly popular reciprocity between the funds. with producers since its production support is not tied to any regional ”effect“. With an annual budget of around Euro 61 The ”Big Six“ have also shown that cooperation makes sense million, the FFA also awards retroactive ”reference“ funding through their joint presence at the Berlin and Cannes Film to producers whose films reach certain thresholds on their Festivals with FOCUS Germany providing a central meeting theatrical release. point for foreign producers wanting to meet their German

6 Kino 1/2002 THE ”BIG SIX“

counterparts as well as a promotional platform for the funds and geared to raising the professional level of the producers in the the production location of Germany. region. At the same time, thanks to the Internet, the Berlin- Brandenburg Film Commission runs a data system HELP Similarly, the "Big Six" have stumped up Euro 255,000 each year to via www.bbfc.de which provides information about locations support the activities of the Export-Union of German in the region as well as a comprehensive address system. Local Cinema, in particular, the staging of Festivals of German Cinema industry events such as the European Film Awards, the Babelsberg around the globe in such cities as Buenos Aires, London, Los international film and television conferences, ScriptForum and Angeles, Madrid, City, New York, and Rome. the Cartoon Movie are regularly supported by the fund. The Filmboard is also active internationally, whether by participating in co-production conferences in Brazil, or , or supporting closer links with the Canadian film and TV production scene through to the CONTACT or Immersion Europe events.

Prof. Klaus Keil Filmboard Berlin-Brandenburg GmbH

August-Bebel-Str. 26-53 · D-14482 phone +49-3 31-74 38 70 · fax +49-3 31-7 43 87 99 www.filmboard.de · email: [email protected]

Contact Prof. Klaus Keil (CEO) Personnel Brigitta Manthey, Michael Schmetz (international co-productions), Sigrid Herrenbrück (press) Established in 1994 Funds available Euro 16 million Co-pro- ductions supported The Legend of Pinocchio, Luna Papa, 27 Missing Kisses, Moloch, Enemy at the Gates, Lovely Rita, Taking Sides, El Acordéon del Diablo

FILMFERNSEHFONDS BAYERN (FFF)

The fund is an exemplary structure in the German film funding landscape since its shareholders come from both the public and private sectors: the State of , broadcasters BR, ZDF, ProSieben, SAT.1, RTL, KirchMedia, Tele München and the media watchdog BLM (Regulatory Authority for Commercial Broadcasting in Bavaria). At least 150% of the production support must be spent in Bavaria, and feature films can be supported with up to Euro 1.3 million so long as the producer or co-producer is based in Germany. Foreign producers can only access FFF cash by submitting an application through a local partner but, as one production expert points out, ”FFF Bayern is extremely interested in getting more interna- FILMBOARD BERLIN- tional partners into Bavaria because it has a long-term perspective of creating more jobs in the media sector and seeing the economy BRANDENBURG and tourism grow“. Indeed, the FFF’s location office, headed by Anja Metzger, attends the ShowBiz Expo and locations trade With its offices located on the studio lot at Babelsberg, Film- fairs to promote the region, and she is always looking - like her board Berlin-Brandenburg was founded by the two location office colleagues at the other funds – to make her region ”states“ of Berlin and Brandenburg, with co-operating partners even more film-friendly. ProSieben, SAT.1 and ZDF. One difference from other funders is that there is no selection committee, as CEO Klaus Apart from supporting local events such as the Munich Media Keil is very autonomous in his decisions. Only producers can Days, the Bavarian Film Center Geiselgasteig and the submit the applications for production support and a distribution First Movie Program, FFF Bayern has helped foster contract is usually required. The ”regional effect“ (that is, the closer links between Bavarian producers and their foreign percent of the money received which must be spent in the area) counterparts through involvement in the Cartoon Forum here is 100%, and on international co-productions, the foreign and Cartoon Movie markets as well as the Co-Production company must work together with a German producer. The Exchange organized with the British Columbia Film Commission. Filmboard has placed great emphasis on the promotion of In addition, the fund has staged a number of ”Made in screenplays and story development within the Master Dreh- Bavaria“ film showcases particularly in Eastern Europe, but buch initiative and launched a program of business plan seminars also at festivals in Shanghai and Cairo.

Kino 1/2002 7 REGIONAL FILM FUNDING IN GERMANY

and Cairo. films from Scandinavia and has been a regular partner on inter- national co-productions. One thing all producers have to keep in mind is that the fund will expect 150% of its support to be spent in Hamburg, the so-called ”Hamburg effect“. The service aspect is writ especially large in all of FFH’s activities as shown by the Shooting Pass introduced in 2000 by its location office for Dr. Klaus Schaefer Dr. production companies wanting to shoot in the city. The pass does not replace the need to apply for shooting permits, but shows the authorities that a company is a bona fide production outfit. The fund has organized conferences and seminars on private film financing and co-production, and benefited from its proximity to the German MEDIA Desk and the pan-European cinema marketing body European Film Promotion. In addition, FFH is a partner of the pan-European script training program North By Northwest. Eva Hubert

FilmFernsehFonds Bayern GmbH

Sonnenstr. 21 · D-80331 Munich phone +49-89-5 44 60 20 · fax +49-89-54 46 02 21 www.fff-bayern.de · email: [email protected]

Contacts Dr. Dr. Klaus Schaefer (CEO), Gabriele Pfennigsdorf (deputy managing director) Personnel Nikolaus Prediger (production/feature film, project development/feature film, distribution and sales), Gabriele Pfennigsdorf (production/TV film, project development/TV, newcomer filmmakers), Dr. Michaela Haberlander (screenplay, cinema premiums, cinema investment programs), Birgit Bähr (extra print support), Lothar Just (press), Anja Metzger (location office) Established in 1996 Funds available approx. Euro 30 million Co-productions supported Asterix & Obelix vs. Caesar, Enemy at the Gates, Obsession, Sunshine, Help I’m a Fish, The Pianist, 2001 – FilmFörderung Hamburg GmbH A Space Travesty Friedensallee 14-16 · D-22765 Hamburg phone +49-40-39 83 70 · fax +49-40-3 98 37 10 www.ffhh.de · email: [email protected]

Contact Eva Hubert (CEO) Personnel Marieanne Bergmann (funding and co-productions), Helen Peetzen (press), Reinhard Hinrichs FILMFÖRDERUNG (power-of-attorney), Marcella Däwers (contracts/production funding, development and screenplay funding), Reiner Rosner (contracts/distribu- HAMBURG (FFH) tion and sales funding) Established in 1995 Funds available Euro Euro 10 million Co-productions supported Nora, Bear’s Kiss, Backed by the City of Hamburg, NDR and ZDF, Film- Bend It Like Beckham, Falcons Förderung Hamburg places particular emphasis on suppor- ting projects by the up-and-coming generation of local filmmakers – from Fatih Akin to Miguel Alexandre – as well as spot- lighting the thriving animation scene through its ”Toon Town“ initiative. The fund also has a long tradition of backing children’s

8 Kino 1/2002 REGIONAL FILM FUNDING IN GERMANY FILMSTIFTUNG NRW Filmstiftung NRW GmbH Kaistr. 14 · D-40221 Düsseldorf The first public fund in Germany to combine cultural and econo- phone +49-2 11-93 05 00 · fax +49-2 11-93 05 05 mic objectives, its goal is ”creating jobs through great filmmaking“. www.filmstiftung.de · email: [email protected] Launched by the state of North Rhine-Westphalia (NRW) and public broadcaster WDR, the Filmstiftung welcomed ZDF Contact Michael Schmid-Ospach (CEO) Personnel Claudia Droste- to the ranks in 1997, and RTL is set to follow suit in 2002. The Deselaers (head of production), Christina Bentlage (deputy head of pro- heart of the production support is the so-called ”NRW effect“: duction), Isabel Krolla (production support), Tanja Güß (press), Martin i.e. for every Euro granted in the form of a non-recourse interest- Schneider (head of administration and finances), Susanna Felgener (script free loan, the producer must spend Euro 1.5 in the region in the support), Britta Lengowski (cinema, distribution & world sales support), course of production. The amount requested should not exceed Sibylle Bettray (radio play support), Andrea Baaken (film commissioner), 50% of the producer’s contribution to the budget, and 5% of the Heike Meyer-Döhring (MEDIA Antenna Düsseldorf), Sandra von Lingen (training and further education), Katharina Blum (research officer) Established in 1991 Funds available Euro 30 million Co-pro- ductions supported Amélie from Montmartre, Gloomy Sunday, My Best Fiend, My Name is Joe, Farinelli, Dead Man, Dancer in the Dark, Black Cat White Cat, Invincible, Heaven Michael Schmid-Ospach MFG FILMFÖRDERUNG BADEN-WÜRTTEMBERG

With the state of Baden-Württemberg and regional broadcaster SWR serving as shareholders, MFG regards itself as ”the com- petence and advice center for the region’s film and cinema land- scape“. The fund grants its support according to the quality of the project and a cultural or other connection to Baden-Württemberg and if a regional ”effect“ of at least 120% is planned in the course of production. The region was thrust into the international spot- Gabriele Röthemeyer

production budget is considered the minimum amount to be in- vested by the producer. In theory, any foreign producer can apply directly with a project, but it is usually recommended to work together with a local NRW production house. At the same time, advising and monitoring the productions are as much a part of the fund’s day-to-day activities as the financial support. Building up a training infrastructure in the region for the audiovisual media has been one of the fund’s key goals over the past years as well as fostering closer links with funding institutions and producers from outside Germany, whether it be with Dutch neighbors or colleagues in France, Italy, UK, Scandinavia or the USA. Most recently, the Filmstiftung forged a new cooperation with the filmmaking scene in Poland.

Kino 1/2002 9 REGIONAL FILM FUNDING IN GERMANY light with the shooting of the Euro 17.9 million Buffalo Soldiers on location near Karlsruhe last year. MFG also enjoys very close connections with partners in neighboring Alsace, and Austria, and has encouraged co-productions, the so-called ”twinning initiatives“ in these areas. In addition, the fund has made great efforts to keep the young talents graduating from Schmidt Manfred the Film Academy Baden-Württemberg in Ludwigsburg by attracting production companies such as teamWorx and Peter Rommel Productions to the region and by launching the First Film program to finance debut features with interna- tional potential. Other activities with MFG backing include the annual Drehbuchcamp and the Ludwigsburg/Stuttgart Film Festival which focuses on European cinema.

MFG Medien- und Filmgesellschaft Baden-Württemberg mbH

Breitscheidstr. 4 (Bosch-Areal) · D-70174 Stuttgart phone +49-7 11-90 71 54 00 · fax +49-7 11-90 71 54 50 www.film.mfg.de · email: [email protected]

Contact Gabriele Röthemeyer (CEO) Personnel Dieter Krauß (deputy managing director/distribution-sales, special projects), Karin Frey (screenplay), Uschi Freynick (exhibition support, events), Anne Marburger (production/documentary, distribution/sales, press), Katja Walter (production/fiction), Claudine Sulyok (office) Established in 1995 Funds available approx. Euro 11 million Co-productions sup- ported Buffalo Soldiers, Northern Skirts, Devil’s Island, Jew-Boy Levi, Tango Lesson, All For Love, Full Moon, Tabu – Die letzte Reise

MITTELDEUTSCHE Mitteldeutsche Medienförderung GmbH

MEDIENFÖRDERUNG (MDM) Hainstr. 17-19 · D-04109 Leipzig phone +49-3 41-26 98 70 · fax +49-3 41-2 69 87 65 Although the youngest, Leipzig-based MDM is also the fourth www.mdm-foerderung.de · email: [email protected] largest of the ”Big Six“, catering to the media scene in the states of Saxony, Saxony-Anhalt and Thuringia, who are all shareholders Contact Manfred Schmidt (CEO) Personnel Alrun Ziemendorf along with broadcasters MDR and ZDF. MDM has focused its (production, documentary, children’s film, animation), Britta Marciniak funding activities on children’s films, documentaries, multimedia (production, TV movies and series, distribution & world sales), Roland and up-and-coming filmmakers, and supported over 250 projects Fleckenstein (production & international co-productions), Mario Fischer with some Euro 40.1 million in its first three years. Key criteria (production, script, short films, newcomer filmmakers, multimedia), for a successful application is a project’s quality and the promise Thomas Große (press) Established in 1998 Funds available of a regional ”effect“ of over 100%. The fund has also ear- approx. Euro 13 million Co-productions supported Taking marked resources to help young production companies like Sides, Der kleine Eisbär, Waterloo, My Sweet Home, L.E.Vision, motion works and Kinderfilm GmbH Till Eulenspiegel, Globi der gestohlene Schatten establish themselves in the region and has promoted the export of German cinema through its support of German Film Days in St. Petersburg. Furthermore, the local production scene has been given a boost by MDM’s involvement in such industry events as the Connecting Cottbus initiative at the Film Festival Cottbus, Babelsberg’s Cartoon Movie, the d-motion DVD conference in Halle and the Discovery Campus Master School for documentary filmmakers. Training work- shops of the MEDIA initiatives EAVE, Vertical Strategies and Cartoon Masters have also been held in the area.

10 Kino 1/2002 www. german- cinema. de/

INFORMATION ON GERMAN FILMS.

GERMAN CINEMA

Export-Union des Deutschen Films GmbH Sonnenstrasse 21 · D-80331 Munich · phone +49-89-5 99 78 7 0 · fax +49-89-59 97 87 30 · email: [email protected] Interview with Dieter Kosslick Director of the Berlin International Film Festival

What has been the biggest change for you personally between You are not completely new to the festival game as you were your work as executive director of the Filmstiftung NRW involved in the Low Budget Film Forum at the end of the 1980s? and as director of the Berlinale? Yes, I got a hint of the passion of making festivals at the Low The biggest change is that I am now seeing completed films rather Budget Film Forum, of how great it can be to put together than having to read scripts. It’s really quite a different business. a certain program with a particular statement. In Hamburg, we The second big difference is that film funding was done during the had to focus only on low budget and Europe, whereas at the whole year whereas here I am spending a whole year to prepare Berlinale one has to take much more into consideration. I think for a twelve-day event. In fact, it’s a historic chance because in my motto here would be to say: ”accept diversity“. 2002 I will have the great fortune to be able to show films like Heaven which I financed while I was still at the Filmstiftung. What, in your opinion, should a festival offer its audience – to the At the same time, there are many things in common: it is a highly professionals and the general public? communicative job and it’s one where you should have a certain degree of diplomatic skills. “ACCEPT Was your work at the Filmstiftung NRW good preparation This is one of the few festivals with such a large participation by for what you are now doing in Berlin? the general public – 400,000 tickets were sold at the Berlinale last year. The balancing act between addressing the normal If one can speak at all of preparation, yes, my previous work in cinemagoers and the professional visitors is enormous. But the Hamburg, North Rhine-Westphalia and at the European Film people who often take a week or so off work to come to the Distribution Office and my connections with different sections of festival are not ”normal cinemagoers“, they want to see something the industry was an important background. Most of the festival different, unusual, something that they wouldn’t normally be able directors are born to do this. With me, this happened after twenty to see in the cinema. years of preparation (smiling)! Dieter Kosslick

12 Kino 1/2002 Interview with Dieter Kosslick Director of the Berlin International Film Festival

What should be the ”unique selling point“ for the Berlinale? pulling the films away from the smaller festivals. It’s true that festivals are highly competitive and this competition is becoming I think that the Berlinale has developed into a very modern film tougher, but if we all have a common interest in German cinema, festival with this structure. The Gregors and Moritz de then I’m sure we’ll manage to come to agreements here as well. Hadeln – and Wolf Donner and Alfred Bauer before them – did a pretty good job. You have the Official Competition, What have you done to make Berlin’s European Film Market a real the commercial independents in the Panorama, the more ”must“ in everyone’s business calendar? complicated things in the Forum (which can be just as entertaining and enjoyable), the Children’s Film Festival, the Retrospective, the You will always have the problem of some people going off to Market and the Perspectives for German Cinema – all of this very the AFM in the second week – that’s nothing new – but we have unique to Berlin. What is perhaps still missing is the special section decided to give the market new impetus this year by staging a for young talents which we will now do in 2003 – we want to take number of film industry panels to foster more debate about issues DIVERSITY” their ideas seriously and offer them a platform where they can of concern to the industry. And we have also looked at ways of come together with the best of the industry and discuss new creating more synergies at our market with the one in Rotterdam. projects. We are so near to each other time-wise that we could comple- ment one another – I see a real chance here if we cooperate ra- What has your approach been for this first year as director? ther than compete with each other. Change everything? Or have you wanted to make some alterations and give your own personal stamp? State Minister of Culture Nida-Rümelin has proposed a ”closer working cooperation“ in the future between the Export- My biggest problem was that I have had to do everything at such Union, the Berlinale and the Goethe-Institutes. How do a speed without a practice round. On the one hand, one wants to you see this cooperation being developed? do some new things, but, on the other, you don’t want to compli- cate things because there is such a giant machinery where people I think it is about time to stop picking on the Export-Union – have certain methods of working. You can’t simply reach inside we know what structural and financial problems there are. Now it and tamper. The expectations are naturally very high that things is time to think about who, overall, is actually working to promote will be different. And so we have done those things which were German cinema: in the representation of films abroad as well as at possible. Moreover, the improved cooperation between the home. I welcome Nida-Rümelin’s approach to bring all of Forum, Panorama and Competition has been very important for those people around a table so that they can work on an adequate the professionals around the world. I have realized on my trips concept. The Berlinale also plays a role here because it now has abroad that this was an incredibly important point because now this greater commitment to German films. In fact, I could see a you take away the psychological pressure people had suffered situation where interfaces develop between the festival and the when filling out the application forms. They can just send the Export-Union’s activities abroad so that we could concentrate forms off without having to worry about which section should be resources and have joint showcases. We can reach our goal to ticked. promote German cinema much better together.

The German cinema will be given a greater prominence at the Dieter Kosslick spoke to Martin Blaney festival under your direction. Can you see this having an influence on German producers’ timing of when they finish their films (i.e. in the past, films were often produced with a premiere in Munich or Hof in mind). Could this new emphasis on German production have a negative ”knock on“ effect for other German festivals?

Until now, we have worked in an exemplary fashion with the other German festivals such as Hof. Heinz Badewitz is still part of the team as organizer of the German Cinema program [for accre- dited market participants only] and there is close cooperation. There have been those cases where one asks ”should we go to Hof or wait for the Berlinale?“. I would have loved to have had the new Christian Petzold film [Toter Mann], but it was right for it to go to Hof. Nevertheless, I will try to see if we can show it in Berlin in the new Perspectives sidebar as well so that Christian has the chance to have his film also shown to an inter- national audience. However, we won’t become like a big hoover

Kino 1/2002 13 Director’s Portrait Dominik Graf

Dominik Graf was born in Munich on 6 September 1952, the son of the acting couple, Robert and Selma Graf. After his school graduation, he began to study German and Musical Sciences, but transferred to the Academy of Television & Film/Munich in 1974. Parallel to his studies, Graf wrote screenplays and was involved in the production of various feature films. He received the Bavarian Film Award for his graduation film Der kostbare Gast (1979). As a director, Graf played a decisive role in developing the profile of the TV series Der Fahnder, he made an episode of Tatort in 1986, and generally speaking, he has alternated regularly between film and TV productions. In 1988, he received a for his thriller Die Katze. His story concerning the eternal triangle, Spieler (1990), was shown at the in 1990. The Invincibles (Die Sieger, 1994) – an ambitious, 12 million mark film about a special police task force – did not live up to expectations at the box offices. Since then, Graf has worked exclusively for television and has won numerous awards. His work includes, among others, the Tatort-episode Frau Bu lacht (1995), Der Skorpion (1996), the satire Doktor Knock (1996), Deine besten Jahre (1998), Bittere Unschuld (1999), the documentary Munich – Secrets of a City (München – Geheimnisse einer Stadt, 2000) and many more. In 2001, Graf realized a new feature film, A Map of the Heart (Der Felsen), which will be presented in competition at this year´s Berlinale. THE REALIST

Anyone wishing to learn what is meant by routine and professionalism within the German media scene must work in television. Dominik Graf realized this very early on, and that is why his career has been characterized by flexible alternation between the large and the small screens. He left the world of German Autorenfilm behind long ago, and after his first works he gave up writing his own screenplays – he still broadens his creative sphere as a director, however, by often composing his own film music. From the beginning, Graf was fascinated by genre cinema, by the police film in particular, and he has also repeatedly experimented with open narrative forms such as those to be encountered in Tiger, Löwe, Panther (1989) or Spieler. These two aspects of his work are united by an interest in the staging of group processes. ”As a film director, you inevitably understand a great deal about groups, because you work in a group – within a hierarchically structured apparatus – in a creative and friendly way. I have always seen established groups – of friends, of professionals or best of all, of both – as ideal pools from which stories and dramas emerge as if of their own accord. I believe that I shall continue to tell stories – for the cinema and for TV – in which people are closely bound up with one other, emotionally, professionally or by some chance encounter, and in which they either grow with each other, or fail together.“

Dominik Graf (photo © Caroline Link)

14 Kino 1/2002 Director’s Portrait Dominik Graf

This changing between genres and forms may also be found in works like Deine besten Jahre or even a Tatort-episode such Graf’s films from the nineties, an example being when he as Frau Bu lacht would be better suited to the cinema. combined a woman’s process of finding herself with elements of the psychological thriller in Deine besten Jahre. The fact that In A Map of the Heart (Der Felsen), Graf returns to the it has become more difficult to develop material for the cinema, constellations of his early films, to young people’s involvements apart from comedy, has led Graf to occupy offensively those and entanglements, without abandoning his concept of realistic niches which television broadcasters – at least those at the public narration. The director – who has repeatedly criticized the stations – still offer to directors with his reputation. A narrator widespread disappearance of reality on television – still has with an analytical viewpoint, one who has efficiently mastered his definite pretensions, and he wishes to produce a film about which craft, he repeatedly succeeds in experiments which do not fit into it is possible to maintain: ”This is the ultimate expression of this the common narrative patterns of television. An episode of Tatort material, this story can only be told in this way and no other.“ such as Frau Bu lacht, or another series episode such as Cinema remains the medium for him ”in which it is possible to Sperling und der brennende Arm (1999), both respect experience the most gripping deep-sea diving expeditions into the the framework conditions of the series such as the constellation human soul. But up until now, I have not succeeded in finding and of investigators and the basic dramatic structure, but they set this establishing a permanent home in Germany for those cinema framework into unexpected motion. The employment of music, genres I love most – the police thriller, the psycho-thriller and the the rhythm and the surprising twists in the montage are immedi- horror film.“ ately obvious, even to a casual observer. Graf’s films are great moments in television, holding up a mirror to the medium itself Dominik Graf spoke to Peter Körte, and demonstrating the casual way it throws away its potential in feature editor for the Frankfurter Allgemeine Zeitung in Berlin. everyday practice. No wonder not only the critics maintain that

Director’s Portrait Hermine Huntgeburth NO SUPERFLUOUS SENTENCES, NO LACK OF EMOTION

Humor, heartache and the ability to tell us a great deal about heart of gold and an inner greatness, they are close to each other, Germany within a very short time are all components of but not good for each other. They live in caravans or the corner Hermine Huntgeburth’s films. pub, and they eat curried sausage rather than sushi. A full array of possible relationships are available to the director – one might When Hermine Huntgeburth is sitting at a table, her elbows also say that a Huntgeburth film is always about the madness are sure to be resting on it, and her head will be held in her hands. of love: love turns slowly fading women into murderers (Der This is the way she prefers to talk – with no commas or full-stops, Hahn ist tot), or it makes enemies out of brothers (Die but with a thousand ”ums and ers“, leaping from one idea to the Stunde des Wolfs). Sometimes, if the love has already lasted next, and then – as if completely out of the blue – arriving at for 17 years and the children are grown up, it may suddenly go precise answers. Why does Hermine Huntgeburth often up in smoke: "puff". And then there is nothing left to a marriage, have strong actors play such weak characters? ”I find contrasts as in Huntgeburth’s latest TV-film Das verflixte 17. Jahr. interesting. What I want to show is human wit in devastation, humor in despair.“ What is a star? ”Those are people who begin The escalating emotions, the excesses of fate in these films are to blossom before the cameras,“ says the director, and then rapid- countered by a much reduced method of staging and narrating. ly explains that thoroughbred actors actually understand her asso- There are no superfluous sentences, and no lack of images. ciative leaps of thought immediately. Direction, as Hermine Huntgeburth sees it, is based on the art of leaving things out. Perhaps the best example of a style which There can be no doubt that a feel for correct casting is the key to is capable of cutting screenplays and yet concentrating them into Hermine Huntgeburth’s films. She has made films with truly gripping films is her TV-movie Romeo, which relates the Götz George and Corinna Harfouch, ”with stars who have division between eastern and western Germany as a combination an aura“, as the 44-year-old puts it very fittingly after several "ers". of spy film and love story. ”Abroad, people are interested in au- She has always produced films in which there are no good or evil thentically German stories“, Huntgeburth says, "many produc- people, but a sense of right and wrong. The right people have a tions fail because they think it is international to avoid anything typically German."

Kino 1/2002 15 Director’s Portrait Hermine Huntgeburth

Hermine Huntgeburth was born in the very Catholic city of Paderborn in 1957. After initial experience in the wardrobe department of the Paderborn Theater, she enrolled in a course studying Film at the Hamburg College of Arts in 1977. In 1983, with a fellowship from the German Academic Exchange Service (DAAD) in hand, she moved to study Film in Sydney. During her studies, Huntgeburth worked as a scriptwriter, camera woman, technician and assistant director at the theater in Esslingen (Germany), and made her main mark in documentary film. In 1992, her feature film debut Im Kreise der Lieben received the German Film Award in Gold for the Best New Director, the Promotional Prize of North Rhine-Westphalia, and an award from the Confédération International des Cinémas D’Art et d’Essai. Since 1987, she has been part of Josefine-Film, together with director and scriptwriter Volker Einrauch and scriptwriter Lothar Kurzawa – ”a production company consisting of three creative people“ – and she has been making a name for herself as a first-class TV- movie director. Her unmistakable works, whose stylistic certainty enables them to maintain a balance between the everyday and the grotesque, have been presented with many of the most important German television awards. She realized her first major- company cinema project in 1997 with Das Trio. Her film Bibi Blocksberg will be coming to the cinemas in 2002, and an international co-production thriller – with the working title Weiss – is currently in development.

In this sense, her films are studies of milieu, Heimatfilme if you like. They have nothing in com- mon with folklore, but relate universal longings which one may also encounter in the German provinces – feelings which certainly warrant the wide-screen format. In 1997, therefore, Hunt- geburth realized her first big-budget cinema film Das Trio; a socially aware pickpocket drama about love and disappointment. The production cost 5 million marks and was distributed by the US major Warner Bros. Of course she values the advantages of a generous budget, in particular the Hermine Huntgeburth (photo © Stefan Falke) time it makes available for filming. But only the artistic idea makes money into a good film: ”Individual directors like Steven Soderbergh or Lars von Trier show the importance of creativity", she says, "their films are the ones that remain in our memories, no matter how successful Hollywood’s blockbusters might be."

She is now making her first children's film for the cinema, Bibi Blocksberg (cf. p. 28), with a budget of eleven million marks. The next plan is for a thriller, to be made in English and outside of Germany for the first time. This is new ground, so to speak, and if one looks at Hermine Huntgeburth’s filmography, it seems that she has actually entered new ground with every film: ”I would like to surprise people again and again, I am bored by routine,“ she says. Then she explains once again how important the casting is for a film. Afterwards, she repeats three times: ”That’s the way it is“, and then she is silent.

Hermine Huntgeburth spoke to Christa Thelen, editor for the Financial Times Deutschland

16 Kino 1/2002

World Sales Portrait ARRI Media Worldsales

Established in 2000 Head of Sales Antonio Exacoustos Additional contact Sylvia Edelmann (Sales Assistant) Main fields of activity acquisition, world-wide distribution and co-production of theatrical features, TV-series, TV-movies Regular attendance of the following film and TV markets Berlin, Cannes, MIFED, MIPCOM, MIP-TV, Venice Number of titles on offer c. 200 films and TV-series Percentage of German titles on offer 95% Buyers include distributors and TV channels in Australia, France, Italy, , Scandinavia Best-selling titles currently on sale Heimat, Heimat 2 and Heimat 3, My Sweet Home

ARRI Media Worldsales Türkenstr. 89 · D-80799 Munich · phone +49-89-38 09 12 88 · fax +49-89-38 09 16 19 www.arri-mediaworldsales.de · email: [email protected] ”BRINGING GERMAN FILMS BACK TO THE FOREFRONT“

”My aim, the company goal, is to bring the German film back to He recognizes his is a mission which will take time but, citing New the forefront,“ says Antonio Exacoustos, head of sales at German Cinema, believes previous success was no coincidence: ARRI Media Worldsales. ”What happened before can, will, happen again.“

If the name’s familiar, that’s because Exacoustos has been in the ”If we have any hits now they are one-offs. And we have little to business some fifteen years, ten of them as head of sales with follow it up with. But if we could bring the next film on the heels Filmverlag der Autoren, one of Germany’s most successful of a successful one then we could create a continuity for German sales companies. He’s also active in many German cinematic insti- films abroad. Not in the US, but certainly in Europe and other tutions, such as the Export-Union and the Filmförderungs- territories." anstalt (FFA). Although not short of titles in the catalogue, Exacoustos be- If the other name’s familiar, that’s because the company is part of lieves ”it will again be single, qualitatively good, films which will the worldwide ARRI group. As you’re reading this, someone break through; films you have to handle with love and attention, somewhere is shooting with ARRI cameras, using ARRI facilities which can be sold with specialized marketing.“ and ARRI people. Yes, THAT ARRI! For this reason, co-production is an essential plank in the strategy. Take Exacoustos’ experience, add the backing of the parent As he says: ”By getting involved early, the earlier the better, you company and you know something? He could very well be the can have an influence and, if necessary, change things during the man to put the German film back into a cinema, or on a TV production stage. Such as to suit overseas markets.“ screen, near you. And ARRI Media Worldsales can offer what very few A new company (”I wanted to start something from scratch“), companies, anywhere, can; ”the resources and experience of the ARRI Media Worldsales, like its parent, ”supports young ARRI group. We can offer our services world-wide. We can talent now so they can make successful films in the future. If you work via ARRI London or ARRI Italia or New York or Los don’t do this,“ says Exacoustos, ”if you don’t try, then there Angeles, wherever. We can put our facilities at their disposal. The will never ever be a world-wide success for German films. Not resources are enormous. For producers, wherever they are, it’s an even a one-off success. Just maybe short-term successes.“ interesting offer.“

18 Kino 1/2002 World Sales Portrait ARRI Media Worldsales

”We have a broad and varied pro- gram“, says Exacoustos, ”from Edgar Reitz’s Heimat films, which are arthouse, through to straightforward TV-series. We have Antonio Exacoustos everything possible. We don’t spe- cialize in any particular genre. When it comes to theatrical features, because this is the way things are in Germany, it will certainly be the case that what lends itself to world-wide sales is arthouse. That’s my personal strength because I know the customers very well.“

Early days yet, but ”the market has reacted very well to us. There aren’t so many German world sales companies, and when you have a dynamic company which can react quickly and through its technical ser- vices support the producers, that’s certainly of interest for producers.“

As regards the internet and new media, Exacoustos is waiting and watching. He cites rights issues, legal confusion and general uncertainty as the main stumbling blocks. But with more and more TV channels starting up, he’s got no reason to worry. ”Every film will find its viewer“, he says. ”New technology will make the procedure easier and we might one day watch films on our mobile phones but you will still need quality product.“

ARRI Media Worldsales, and Antonio Exacoustos, has it.

Simon Kingsley spoke with Antonio Exacoustos

The past year has seen three co-productions: Stefan Ruzowitzky’s comedy All The Queen’s Men, Hanns Christian Müller’s comedy Germanikus and Robert Schwentke’s thriller Tattoo. And currently in production is the third part of Edgar Reitz’s epic family drama, Heimat.

”We don’t want to become some huge store with so many films that we can’t handle them properly“, says Exacoustos. "Each film is different and demands its own treatment. That’s the way we want to stay. I think three productions a year will enable us to maintain this.“

At the moment, ninety-five percent of the catalogue consists of German titles. Despite the co-production activities and the ongoing acquisition of rights, the core offerings will remain mostly German. Which is not to say there’s any lack of variety.

Kino 1/2002 19 Producers’ Portrait zero film

Founded in 1990 by Martin Hagemann and Thomas Kufus, zero film initially concentrated on documen- taries until 1993, although it was also involved in line producing Jan Schütte’s Goodbye America (Auf Wiedersehen Amerika, 1994). In 1994, the company moved premises and expanded its infrastructure, investing in its own post-production equipment, the development of its own projects and in the fostering of inter- national contacts. zero film’s productions have received premieres at festivals in Cannes, Berlin and Venice and have become regulars on the international festival circuit with such films as Stefan Schwietert’s Swiss-German co-production A Tickle In The Heart , Aleksandr Sokurov’s Mother and Son (Mutter und Sohn) and Barbara Albert’s Austrian-German co-production Northern Skirts (Nordrand). The company has become one of the few to successfully produce and market feature-length documentaries for the theatrical and TV market and was a pioneer in the production of docu-soaps for the German TV audience. A subsidiary, zero südwest, was set up in Baden-Baden with production manager Hartwig König to handle productions being shot in this region. In 2001, zero film’s production of Andres Veiel’s documentary Black Box Germany (Black Box BRD) received the European Documentary Award 2001 – Prix at the 2001 European Film Awards.

zero film GmbH · Lehrter Str. 57 · D-10557 Berlin, phone +49-30-3 90 66 30 · fax +49-30-3 94 58 34, www.zerofilm.de · email: [email protected] COMPANY WITH AN UNMISTAKE Great ideas are often hatched during film shoots and so it was industry, the schools were very director-oriented. At the beginning during the filming of Leningrad, November in the autumn of of the eighties, there was no way of studying production, you just 1989 when the idea for zero film was born. did it on the job“.

In the breaks between shooting at Lenfilm Studios, zero film’s After getting to know each other on Leningrad, November, later owners Martin Hagemann and Thomas Kufus Hagemann and Kufus discovered the archives of the docu- dreamt of a new generation of low-budget films: independent mentary film studios in St. Petersburg – which resulted in Kufus’ cinema, documentary and feature films with their own language – documentary Blockade and formed the basis for zero but professionally produced by a company financing and selling film when it was set up in 1990. its films on the international market. ”From the outset, international co-productions were a focus, with ”Neither of us attended a film school, we both came in through a particular emphasis on Russia“, Hagemann explains, pointing the back door“, recalls Hagemann, ”When we started in the out that ”there isn’t a strict division of labor between Thomas and myself. It is true that Thomas concentrates on the documentaries although he also handles the projects by Aleksandr Sokurov. And I mainly work on the fiction projects, but have also handled documentary titles too".

Apart from producing their own projects, zero film also built up a respectable reputation as a line producer on international pro- ductions, beginning in New York with Jan Schütte’s Goodbye America (Auf Wiedersehen Amerika) and followed over the years by the Berlin shoots of Good Machine’s Flirt by Hal Hartley and several visiting Russian productions through to Peter Bogdanovich’s The Cat’s Meow at the end of 2000.

”I had real fun on the Bogdanovich project“, Hagemann Martin Hagemann (photofilm/Sabine © zero Sauer) says, ”it was different for a change to not have to worry about the financing as the money was on the table and then it was all go. At the same time, it was a real challenge to have to recreate the Hollywood of the 1920s and to work with a European team with only six weeks of preparation“.

However, that is not the focus of zero film’s business, he stresses. ”With the line producing, we basically worked with companies whom we could then call upon when we are wanting to shoot in the US or England in the future. Our goal, though, as a company is to produce German-language and international independent features“. Hagemann and Kufus’ experience so far is that those films which are ”absolutely unmistakable“ or ”particularly extreme“ like the ones they have produced with Aleksandr Sokurov –

20 Kino 1/2002 Producers’ Portrait zero film

Verborgene Seiten (1994), Mother and Son (Mutter Albert, Didi Danquart and Stefan Schwietert. ”Our goal und Sohn, 1997) and Moloch (1999) – have sold very well and is definitely to work with people on more than just one film“, definitely have an international appeal. ”Whatever the plot or Hagemann agrees, ”at the same time, we are open for new genre is, there is an audience for these films; it may not be large, people and continue to produce debut films“. but it is there. They sell to 20 countries and you even get to see money flowing back from certain territories“. Furthermore, working for television has opened up all kinds of synergistic potential for zero film’s cinema activities. ”The good According to Hagemann, it is more difficult with German thing about the TV activities is that we often make the feature projects to get them into the international market, although they documentaries with the same people we have used on the tele- were successful with the co-productions of Didi Danquart’s vision projects; that means that the teams and the editors and so Jew Boy Levi (Viehjud Levi) and Barbara Albert’s on can work on a regular basis and then come together to tackle Northern Skirts (Nordrand) – both the result of ”twinning a larger, more difficult project. That complementarity is perhaps initiatives“ between Baden-Württemberg, Switzerland and Austria easier in the field of documentary than in fiction so that the – and now have a project with Connie Walther, Schatten- experiences you make with the docu-soaps can be used for the welt, whose screenplay was written by Ulrich Herrmann and dramaturgy of feature-length documentaries. And you can try has been developed with former RAF terrorist Peter-Jürgen things out“.

ABLE IDENTITY Boock. In addition, zero film is currently working with Max Last year, the Baden-Baden-based subsidiary zero südwest Färberböck and five writers on a feature film project with the spent ten weeks shooting the docu-soap Schwarzwald- working title of September, which will recount the consequen- haus1902.de which sent a modern Berlin family on a journey ces of the 11th of September in Germany in an episodic structure. back in time to live in a farmhouse in the Black Forest in 1902. Commissioned by SWR, the four-parter, which was modeled on ”We have worked a lot with directors who write as well“, he the UK’s The Victorian House series, will be seen in ARD’s notes, ”the films we make are clearly Autorenfilme, stubbornly prime-time schedule in autumn 2002. In addition, zero is devel- individual, but they are also very professionally produced and oping another series with ARTE – Ein Jahr danach – which marketed“. To speak of a zero film ”family“ of directors might would revisit political events a year later to see what has happened be too much of an exaggeration, although there are clearly close in the intervening period. links to such filmmakers as Aleksandr Sokurov, Barbara But as Martin Hagemann points out, raising the financing for their projects hasn’t become any easier with time or due to their heightened profile thanks to a number of national and interna- tional prizes.

”One crux is the fact that funding is regionally organized here in Germany and through committees, so basically you start afresh with each new project. Now that doesn’t reflect what you have done in the last twelve years“, he declares.

”Another problem is that the German film funding system doesn’t acknowledge the significance of international sales and festival participation. Apart from Road Movies, we are the only German production company to be represented at three ”A“ festivals in quick succession with films, but then I see what my co- Thomas Kufus (photofilm/Sabine © zero Sauer) producers receive for reference support for new projects just for the participation at a festival – Erich Lackner of Lotus Film, for example, received 350,000 Euro for Northern Skirts being shown at Venice in competition – so I think incentives should be created which kick in automatically and are not decided upon by committees. At the moment, the ”reference“ funding is just sup- porting films which are already commercially successful“.

As it happens, Hagemann’s wish may be granted in the not too distant future since State Minister for Culture Julian Nida- Rümelin in fact proposed in his recent film policy document that the ”reference“ funding should be extended to honor festival invitations and sales performance of films.

Martin Blaney spoke with Martin Hagemann and Thomas Kufus

Kino 1/2002 21 Kino news

German Short Film Award 2001 A total of eight films were nominated for the German Short Film Award 2001. All nominated filmmakers received a monetary prize of DM 25,000 for the preparation, de- The German Short Film Award 2001 in Gold and Silver velopment and realization of a new film. Also nominated was presented by State Minister Julian Nida-Rümelin on were: Gleisarbeiter, a Patrick Lambertz production in 10 November 2001 at the ”Filmkunsthaus Babylon“ in Berlin. cooperation with the ”Konrad Wolf“ Academy of Film & The television presenter and singer Kim Fisher moderated Television; Nass, a Lounge Entertainment production the event. The Film Prizes in Gold are each endowed with in cooperation with the HFF/M; Schneckentraum, a DM 60,000 and the Film Prizes in Silver with DM 40,000 each. Wiedemann & Berg Film production in cooperation with the HFF/M; and Taschenorgan, a Carsten Strauch production in cooperation with the Academy of Art & Design in Offenbach.

After the awards ceremony, all eight nominated short films went on a tour of over 100 cinemas throughout Germany. Further information about the tour dates may be found at: www.kurzfilmpreisunterwegs.org.

(photo © Christoph Assmann) Information about the German Short Film Award

Julian Nida-Rümelin & the nominees is available at: www.deutscherkurzfilmpreis.de or www.filmfoerderung-bkm.de.

Eva Marel Jura was awarded the Film Prize in Gold in the NRW and Poland category of Short Films Under Seven Minutes for her film Cut Away, made in cooperation with the Academy of Television & Film Munich (HFF/M). The Film Prize in Gold in the category Tom Tykwer opens the Berlin International Film of Short Films Festival this year – with a film from Krzysztof Between Seven & Kieslowski. The script for Heaven originated from the Fifteen Minutes went Polish director and actor, who died in 1996. The film, co- Idil Üner to Idil Üner for produced by X Filme and Miramax and funded by the the film Die Filmstiftung NRW, was shot in, among other places, Liebenden vom North Rhine-Westphalia. The relations between North Hotel Osman, a Rhine-Westphalia and Poland are just as varied as the stories Peter Stockhaus from Kieslowski and Tykwer. And to intensify this

Film production. (photo © Christoph Assmann) relationship, Filmstiftung NRW managing director Michael Schmid-Ospach traveled to Poland in the fall The Film Prize in Silver for Short Films Under Seven Minutes was award- ed to Wahlver- wandtschaften, a Nils Loof Film production, while ”Die Reise“, Scene from the Film Prize in Silver for Short Films Between Seven & Fifteen minutes went to Su Turhan for Gone Underground, a Gone

Underground and Getpix Film production. Agnieszka Piwowarska Johanna Wokalek,

of 2001. Following an invitation from festival director Stefan Laudyn, he not only visited the ”German Day“ at the Warsaw Film Festival, but also met with Polish filmmakers, Eva Marel Jura, left Eva Marel like Andrzej Wajda and Krzysztof Zanussi. "The Polish producers were amazed at the possibilities there are for international co-productions in North Rhine-Westphalia, and

(photo © Christoph Assmann) as a result, we were able to bring home a few projects, includ- ing a Günter Grass-adaptation" said Schmid-Ospach, satisfied with the trip’s results. There are also plans in the area of schooling and training. Schmid-Ospach discussed the possibility of a cooperation between the International Film School Cologne and Wajda’s soon-to-be-opened new film school in Warsaw.

22 Kino 1/2002 Kino news

That the spirit of cooperation between North Rhine- Westphalia and Poland is already functioning is proven by director Pierre Koralnik’s new film Die Reise. The WDR and Tag/Traum Cologne production, supported by the Filmstiftung NRW, was filmed in Warsaw, Lublin, Cologne as well as in the industrial Ruhr area of Germany, and

tells the authentic story of two Jewish sisters, sent by their fa- (photo Leve) © Manfred ther to Germany as forced laborers in order to spare them

from the Holocaust. Jacob/Bundeskunsthalle Wenzel

International Film Music Biennale Bonn 2002

The International Film Music Bienniale Bonn (IFMB) is coming closer. From 23 – 30 June 2002, the Art and Exhibition Hall of the Federal Republic of Germany in Bonn will again host the IFMB. Organized together with the Filmstiftung NRW, an international forum and working atmosphere will be provided for film producers, sound de- Panel discussions and performances are planned with national signers, composers, music producers and film music & sound and international experts like Andrea Willson of Deut- design students. Open-air-concerts, film retrospectives and sche Columbia Pictures; Gary Rydstrom and club nights will complete the range of events. The full program , sound designers from Los Angeles; will be available in April 2002 on the website: Heinz Canibol and Andreas von Imhoff of EMI; www.bundeskunsthalle.de. as well as the director Zhang Yimou and the composer Zhao Jiping from China. Until 16 April 2002, feature films, TV-films and short films may be submitted for the various prize categories. The jury One of the highlights will be the festive gala event on 28 June members of the International Prize for Film and Media Music 2002 with Mikis Theodorakis, who will receive the Erich- (IPFM) in the category Recent Feature Film are Leo Wolfgang-Korngold-Prize for his lifetime achievement. To honor Brouwer (Cuba), Ulrich Gregor (Germany), Shubha his work, the gala will be followed by an open-air concert with Mudgal (India), Andrzej Wajda (Poland) and Shirley the National Youth Orchestra of Germany and the State Walker (USA). Several other juries will also award prizes, Youth Choir of North Rhine-Westphalia as well as a Chamber including the European Endowed Prize, the Endowed Prize of Music Evening. the European Film Institute and the Endowed Prize of the Franz Grothe Foundation. Application forms for the various competitions are available at: www.bundeskunsthalle.de. Students and experts from over 20 European universities are expected to attend the IFMB, including: Henryk Kuzniak, For further information please contact: The National Film, Television & Theater School, Lódz; Klas International Film Music Biennale Bonn 2002 Dykhoff, Dramatiska Institutet University College, Stock- c/o Kunst- und Ausstellungshalle der holm; Sergij Jorda, Institut Universitari de l’Audiovisual, Bundesrepublik Deutschland Barcelona; Stephen Deutsch, Bournemouth Media School, Friedrich-Ebert-Allee 4 · D-53113 Bonn London; Ian Gardiner, Institute for Performing Arts, phone +49-2 28-9 17 12 61 · fax +49-2 28-9 17 12 33 Liverpool; and Prof. Dr. Enjott Schneider, Hochschule e-mail: [email protected] or für Musik & Theater, Munich. [email protected] or

Filmstiftung NRW phone +49-2 11-93 05 00 · fax +49-2 11-9 30 50 85 email: [email protected]

Baden-Württemberg’s Best Script

Whoever wants to make good films, needs good scripts. In an effort to promote high quality scripts from Baden-Württem- Michael Schmid-Ospach/Filmstiftung NRW berg, the MFG Baden-Württemberg will present for the fourth time the Script Prize Baden-Württemberg to a talented writer for a story taking place in Baden-Württemberg. Three scripts will be nominated and invited to the Berlinale 2002, where the award in the sum of Euro 25,000 will be presented during a reception hosted by the state of Baden- Württemberg.

Kino 1/2002 23 Kino news

MDM Development Phase The program also presented the short film sidebars NEXT Successfully Completed GENERATION 2001 and SHORT TIGER 2001 with a total of 17 shorts. The main program featured: Anna Wunder by Ulla Wagner, Crazy by Hans-Christian Since its foundation, the MDM Mitteldeutsche Medien- Schmid, The Experiment by , förderung has supported over 250 projects with more than Gripsholm by Xavier Koller, Girls on Top Euro 40 million. As a result, film productions such as The (Mädchen Mädchen) by Dennis Gansel, Passing Legends of Rita (Die Stille nach dem Schuss) by Summer (Mein langsames Leben) by Angela Volker Schlöndorff, Forget America (Vergiss Schanelec, As Far As My Feet Will Carry Me (So Amerika) by Vanessa Jopp and Cold is the Evening weit die Füsse tragen) by Hardy Martins, and The Breeze (Kalt ist der Abendhauch) from Rainer Tunnel by Roland Suso Richter. In addition, there was Kaufmann were shot in the states Sachsen-Anhalt, a special screening of the film Zoom by Otto Alexander Thuringia, and Saxony. Even the international co-production Jahreiss. Taking Sides under the direction of István Szabó with the Hollywood star Harvey Keitel in the leading role The German guests included: Roland Suso Richter, was filmed in the area. , Hardy Martins, Oliver Hirschbiegel, Otto Alexander Jahrreiss, Xavier Koller, Irina Pantaeva (lead actress in As Far As My Feet Will Carry Me), Harald Kloser (film score composer for The Tunnel), Oana Solomon (lead actress in Zoom), Zoom producer Michael Schwarz, Sonja Rom (director of photography for Crazy), and Girls on Top producers Matthias Ehmke and Thomas Augsberger.

Three feature films are currently the subject of sales negotia- tions. The sales agent for the The Tunnel is in concrete negotiations with two leading US distributors. ”We are very

Scene from ”As Far As My Feet Will Carry ”As Far As My Feet Scene from Me“ pleased about the positive response of the American public –

The MDM was instrumental in the development of an infra- structure in the media branch in Thuringia, Saxony and Sachsen- Anhalt. In addition to monetary support, initiatives for contin- uing education, workshops, meetings and the marketing of film locations in the region (www.mdm-locationguide.de) were established.

The goals for MDM’s next level of active support include increasing the synergy effects in the region, continuing to promote new business establishment, strengthening the media network, as well as building up a practice-oriented educational Corina Danckwerts (photo © Amy Tierney)

program in the area. More information about the MDM can (ARRI Film & TV), Franz Kraus & Thomas Nickel be found under www.mdm-foerderung.de. an additional screening was scheduled spontaneously because of the great demand. We are now hoping for the successful THE TUNNEL Wins ARRI Film conclusion of a deal“, declared Dirk Schürhoff, head of & TV Audience Award at sales at Beta. Zoom’s producer Michael Schwarz was Second Festival of German also able to sell the remake rights to Key Entertainment in Los Angeles. Cinema in Los Angeles The event’s partners were the Federal Government The Second Festival of German Cinema was held Commissioner for Cultural Affairs and the Media, the German from 9 - 15 November 2001 in the Laemmle Music Hall Federal Film Board (FFA) as well as the six major regional film Theater in Beverly Hills and met with an inquisitive audience funds. The festival was supported by: ARRI Film & TV, Beta and a positive echo from buyers and the press. In spite of the Film, Bitburger Bier, Erdinger Weißbier, the German Consul- difficult political and economic situation and the changed habits General Los Angeles, the German Information Center New following the terrorist attacks, the event saw a clear increase in York, german-world.com, the Laemmle Music Hall Theater, admissions. Eight feature films were in the running for the Ledl Filmservice, Lufthansa AG, Pack Air Airfreight, Das Werk, ARRI Film & TV Audience Award, which went to and Porsche North America. Roland Suso Richter’s opening film The Tunnel. The Audience Award includes post-production funding in the sum of $10,000 for the director.

24 Kino 1/2002 Kino news

Successful Presentation of FilmFörderung Hamburg: German Films at MoMA, New Location Data Bank New York Premiere in Berlin: The FilmFörderung Hamburg is For the 23rd time, the Museum of Modern Art presenting its new Location Data Bank during the (MoMA) in New York showed a wide range of new feature Berlinale 2002. The new digital Location Guide contains and documentary films from Germany under the banner 200 locations and typical Hamburg settings. In addition to ”Germany 2001: New Films“. The program, which was photos, users can find information and contact addresses for presented in the museum’s two cinemas from 1 – 15 Novem- the individual locations. And the newly installed Production ber 2001 and included two shorts for the first time, met with Guide provides the addresses of freelance filmmakers, an enthusiastic audience. Over 9,000 spectators in a total of production companies, services industries and film technical 34 screenings sat in mostly sold-out performances. A highlight companies. These two new guides complete the Film- of the event was the opening film The Tunnel which was Förderung Hamburg’s extensive service offer for the warmly received by the audience and provoked a stimulating region’s film industry. The forms for the internship pool, the discussion with director Roland Suso Richter and shooting pass and the location questionnaire can be accessed producer Nico Hofmann. Jeanine Meerapfel (Anna’s from www.ffhh.de. The FilmFörderung Hamburg Summer), Mirjam Kubescha (Ecce Homo) and and its Location Office can once again be found at the Wilfried Huisman (Dear Fidel – Marita’s Story/ FOCUS Germany stand at Berlin’s European Film Lieber Fidel – Maritas Geschichte) also introduced Market. their films in person.

”The program“, declared Laurence Kardish, Senior Filmboard Director Supports Curator at the Department of Film and Media in the Museum Amended Film Funding Criteria of Modern Art, ”numbers as one of the highlights of our international country focuses. The large number of German In the debate over a film funding reform, Filmboard directors and producers, burdened by the weight of modern Berlin-Brandenburg managing director Prof. Klaus history and acutely sensitive to contemporary social issues, Keil has suggested an amendment to film funding criteria, make deeply interesting films, not easy ones. The German supporting the State Minister of Culture Julian Nida- cinema is and remains an inexhaustible supply of serious young Rümelin’s proposed ”criteria-based reference funding“. ”We filmmakers that deserve international recognition. Apart from define the success of a film in two ways – as an economic the opening film, Anna’s Summer as well as the documen- success at the box offices and as an artistic success through taries Dear Fidel – Marita’s Story, To with the awarding of prizes, special ratings and festival invitations“, IKEA (Mit IKEA nach Moskau) by Michael says Keil. Chauvistré, Lale Andersen – The Voice of Lili Marleen (Lale Andersen – Die Stimme der Lili The Filmboard Berlin-Brandenburg intends to finan- Marleen) by Irene Langemann and The Himmler cially reward artistically successful films and filmmakers already Project (Das Himmler-Projekt) by Romuald in 2002, thus establishing the first equivalent to pure economic Karmakar attracted special attention. We have taken on reference funding. The Filmboard has recommended the latter film for our film archive.“ including this ”success controlling“ in the catalogue of criteria to be evaluated for future film funding. According to Keil, ”The artistic reference is based on awards, competitions and admissions and will be evaluated on a points system. One point will be given for each award, each competition invita- tion, and every 100,000 viewers. The total points form the reference for financial recognition of the film’s artistic achieve- ment", whereas modifications may be made depending on the importance of the festival and a bonus factor may be calcula- ted for children’s films, documentaries and newcomers’ films.

Jeanine Meerapfel, Roland Suso Richter Prof. Keil is supportive of Julian Nida-Rümelin’s pro- posals in the ”Film Policy Concept 2001“ and says ”A

Bernard Edler von Planitz, Dr. Günther Koenig, Günther Koenig, Bernard Edler von Planitz, Dr. radical thought would be the fusion of all the regional film- funding bodies into one institution with individual ’state antennas’, like the Brussels Media Program. But that is not up for debate. Nida-Rümelin’s concept is a proposal The event was held in collaboration with the Export-Union of everyone can work with, not just a few interest groups.“ German Cinema, the German Federal Film Board (FFA), the Federal Government Commissioner for Cultural Affairs and the Media, as well as the six major economic film funds. Support was also forthcoming for the event from the German Information Center New York as well as Goethe-Institut Inter Nationes.

Kino 1/2002 25 Kino news

FFF Bayern Continues Promotion Maria Speth Named MFG- Activities in Eastern Europe Star 2001

For the past five years, the FFF Bayern has been active in Maria Speth was awarded the newcomer directing award promoting German films in Eastern Europe. ”German MFG-Star at the Baden-Baden Festival of TV Films Cinema Made in Bavaria“ served as the headline for film for her feature debut the days between (in den tag events in Poland, Russia, the Ukraine, Slovenia, Romania and hinein). Juror Esther Gronenborn (alaska.de) selected Slovakia. A particular highlight was the 1999 film week in the production from four films in competition. The MFG- , whose slogan ”Film and Beer from Bavaria“ Star, which was awarded for the second time to help in the attracted a young audience. FFF’s international activities are further development newcomer talent, includes a ”carte characterized by their continuity: most of the film weeks in blanche“ for a training seminar of the winner’s choice. Eastern Europe have become a tradition and have generated strong cultural contacts between the participating countries. In 2001, the ”Tydzien Filmu Bawarskiego“ in Cracow, organized by the cultural institution ”Nürnberger Haus“, celebrated its fifth anniversary. Moscow staged Bavarian films for the second time, where 765 viewers enthusiastically received the opening film The Experiment by Oliver Hirschbiegel. As a response to the FFF’s film week in Ljubljana in 2000, a Slovenian film presentation took place in Munich. But there is also room for new projects: next year, in cooperation with the Bavarian State Chancellery, the FFF Bayern is going to present German films in and Zagreb. Scene from "the days Scene from between" by Maria Speth Deutsche Welle Presents Young German Directors FFA Coordinates Film Funding Since December 2001, Deutsche Welle’s culture report Law Amendment Suggestions has been presenting the new league of young German film- makers. A series of ten portraits introduced to radio listeners The German Federal Film Board (FFA) has taken on abroad prove that German cinema is alive and well, and much the lead in the coordination of the workgroup which has been better than its reputation. The culture report began with an dealing with the pending amendments to the film funding law, interview with Dieter Kosslick, the new director of the currently in effect through the end of 2003. The workgroup is Berlin International Film Festival, followed by a portrait of comprised of leading representatives from German film asso- Tom Tykwer to kick off the series. The culture report, ciations and organizations (the Association of German broadcast every Sunday, will continue with portraits of Film Theaters, Cineropa, the Association of Caroline Link, Wolfgang Becker, Andreas Arthouse Cinemas, the Association of German Kleinert, Andreas Dresen, Christian Petzold, Feature Film Producers, the Association of New Vanessa Jopp, Hans-Christian Schmid, Fatih Akin Feature Film Producers, the Distributors’ and Oskar Roehler. Each portrait is five minutes long and Association, the National Video Association, the authored by such film journalists as Josef Schnelle and Association of Private Broadcasters, the public Knut Elstermann. For further information please contact broadcasters ARD and ZDF, the State Film the series’ creator and editor Jochen Kuerten at Committees, FilmFörderung Hamburg and [email protected]. FilmFernsehFonds Bayern representing the six main economic film funds, the State Chancellery of North Rhine-Westphalia, the Federal Government FFA Publishes Arthouse Studies Commissioner for Cultural Affairs and the Media and the FFA) and expounds upon detailed information and statistics regarding the current situation of German cinema. Every tenth screen in Germany belongs to an arthouse cinema and twenty-two percent of all screens show arthouse films on The workgroup’s thesis paper Filmwirtschaftliche a regular basis. What are the socio-demographic differences Meinungsbildung zum Novellierungsbedarf des between arthouse and mainstream audiences? To what extent FFG is available from the FFA’s website at www.ffa.de have cinema owners profited from the successful film year under ”Publikationen“. 2001? Answers to these questions and more can be found in the two new FFA-studies Programmkinos – Aus- lastung, Bestand, Besuch und Eintrittpreise and Das Programmkino-Publikum im 1. Halbjahr 2001. Published in December 2001, both studies can be downloaded at www.ffa.de under ”Publikationen“.

26 Kino 1/2002 Kino news

Fourth Annual Festival of Oliver Hirschbiegel’s The Experiment, Heidi M. German Cinema in London from Michael Klier, Girls on Top (Mädchen Mädchen) from Dennis Gansel, A Fine Day (Der schöne Tag) by Thomas Arslan, Sumo Bruno by The fourth annual Festival of German Cinema in Lenard Fritz Krawinkel, the documentaries Black Box London (29 November – 6 December 2001) was once again Germany, Dear Fidel – Marita’s Story (Lieber met with great response at the London arthouse cinema, the Fidel – Maritas Geschichte) by Wilfried Huismann, Curzon Soho. Organized by the Export-Union in cooperation Dirt for Dinner, A Place in Berlin, The Dream is with the Goethe-Institute London, the program, including fea- Gone, the retrospective films Germany in Autumn tures, documentaries, the Next Generation 2001 shorts (Deutschland im Herbst, a directorial collective by Alf and a retrospective, presented a total of 30 German films to Brustellin, Rainer Werner Fassbinder, Volker an enthusiastic British audience of young cinemagoers, jour- Schlöndorff, Maximiliane Mainka, Edgar Reitz, nalists, buyers and distributors. , Katja Rupé, Bernhard Sinkel and others), Reinhard Hauff’s Stammheim and The Eight directors were on hand to personally present their films, Legends of Rita by Volker Schlöndorff, as well as the including: Andres Veiel (Black Box Germany/Black 12 shorts in the Next Generation 2001 sidebar. Box BRD), Christian Petzold (The State I Am In/Die Innere Sicherheit), Esther Gronenborn After the festival in London, a selection of the program was (alaska.de), Branwen Okpako (Dirt for Dinner/ shown in Edinburgh and Glasgow under the banner Dreckfresser), Jürgen Böttcher (A Place in ”German Films on Tour“. Berlin/Konzert im Freien), Achim von Borries (England!), Hannes Stöhr (Berlin is in Germany) The event’s partners were the Federal Government and Christoph Schuch (The Dream is Gone/Der Commissioner for Cultural Affairs and the Media, the German Traum ist aus – Die Erben der Scherben). Federal Film Board (FFA) as well as the six major regional film funds and the Goethe-Intstitute Inter Nationes. The The program included: opening film The State I Am In, festival was also sponsored in part by Erdinger Weißbier. alaska.de, Berlin is in Germany, Franziska Buch’s Emil and the Detectives, the closing film England!, www. german- cinema.de/ INFORMATION ON GERMAN FILMS.

GERMAN CINEMA

Export-Union des Deutschen Films GmbH Sonnenstrasse 21 · D-80331 Munich · phone +49-89-5 99 78 7 0 · fax +49-89-59 97 87 30 · email: [email protected]

Kino 1/2002 27 Detectives that convinced rights holder Kiddinx that it is possible to produce successful children’s films in Germany. ”They didn’t believe at first that you could do a live version,“ says Reich.

”I was hesitant at first“, says Kiddinx owner and chairman of the supervisory board, Karl Blatz, ”but then I saw the first results and they were magical.“

”The film is also incredibly well cast“, says Bibi’s creator and the film’s writer, Elfie Donnelly. ”The adults and children are just fantastic. There are also very many special effects, which is new for a German children’s film.“

Sidonie von Krosigk (photo Sidonie von Krosigk © 2001 Bavaria Film) Just twelve years old, Sidonie von Krosigk (Bibi Blocksberg) is already an acting veteran, while award-winning actress Katja Riemann (Barbara Blocksberg) is a star of German stage, Bibi Blocksberg television and cinema, as is Corinna Harfouch (Rabia), herself the recipient of numerous awards.

Original Title Bibi Blocksberg Type of Project Feature Film For director Hermine Huntgeburth (cf. p. 15), Bibi Cinema Genre Children’s Film, Fantasy, Adventure Production Blocksberg was a step into the unknown which she found Company Bavaria Filmverleih & Produktion, Munich, Kiddinx ”incredibly interesting and exciting because you have to think in Filmproduktion, Berlin, in co-production with Gustav Ehmck completely new ways for a children’s film. I’m so happy to be able Filmproduktion, Gräfelfing With backing from FilmFernseh- to make a film for this audience.“ Fonds Bayern, Filmförderungsanstalt (FFA) Producers Uschi SK Reich, Karl Blatz Director Hermine Huntgeburth Screenplay Elfie Donnelly Director of Photography Martin Langer Editor Hansjörg Weißbrich Principal Cast Sidonie von Krosigk, Maximilian Befort, Katja Riemann, Corinna Harfouch, Ulrich Noethen Format 35 mm, color, 1:1.85 Shooting Gott ist tot Language German Shooting in Munich, Starnberg, Landshut, Deggendorf from October to December 2001 Original Title Gott ist tot Type of Project Feature Film Cinema Genre Social Drama Production Company Filmfabrik, Cologne With backing from BKM, Filmstiftung NRW Producer/Director/Screenplay Kadir Sözen Contact: Director of Photography Axel Block Editor Mevlüt Kocak Bavaria Filmverleih & Produktions GmbH Music by Uwe Buschkötter Principal Cast Götz George, Uschi Reich Markus Knüfken, Bastian Trost, Andreas Guenther, Barbara- Bavariafilmplatz 7 · D-82031 Geiselgasteig Magdalena Ahren Format 35 mm, color, cs Shooting phone +49-89-64 99 28 73 · fax +49-89-64 99 31 43 Language German Shooting in Cologne, October- email: [email protected] November 2001

Contact : Celebrations in Neustadt: young Bibi Blocksberg’s spontaneous Filmfabrik Fernsehproduktion GmbH outburst of witchcraft caused a sudden rainstorm and saved two Stella Yesiltac children from a fiery death. Mother Barbara, a witch to the very Greesbergstr. 5 · D-50668 Cologne core, is as proud of her daughter as any mother could be. But phone +49-2 21-9 34 76 70 · fax +49-2 21-9 34 76 71 email: [email protected] overworked, and stressed out, father Bernhard is less than impressed by his offspring’s supernatural escapades.

Bibi then receives news from Chief Witch Walpurgia that for her services above and beyond the call of duty she’s been awarded the Crystal Ball, which will make her a full-fledged witch. Proudly, Bibi flies on her broomstick to the Blocksberg mountain. But Rabia (Corinna Harfouch), a particularly mean and nasty witch, is unwilling to see Bibi gain the honors. She swears not to rest until she has relieved Bibi of the precious jewel. (photo © Mark-Steffen Göwecke) The cheeky young witch Bibi Blocksberg has been taking German children’s bedrooms by storm for the past fifteen years. To date, her adventures have sold 33,152,880 audiotapes and 1,578,039 animated videos. And at the end of October 2001, shooting began on the first live version. Barbara-Magdalena Ahren Sözen, Götz George, Kadir

It was the popularity of producer Uschi Reich’s adaptations of Erich Kästner’s novels Annaluise and Anton and Emil and the

28 Kino 1/2002 in production

Some films are driven by effects, others by action. Kadir Contact: Sözen’s Gott ist tot (translation ”God is Dead“) is character teamWorx Produktion für Kino und driven. Fernsehen GmbH · Christine Gadocha Widenmayerstr. 16 · D-80538 Munich Götz George plays the unemployed Heinrich Lutter, who lives phone +49-89-2 42 87 81 26 · fax +49-89-2 42 87 81 10 with his sons, ex-convict Mike (Markus Knüfken) and handi- www.teamworx.de capped-from-birth Günni (Bastian Trost). email: [email protected] Heinrich’s pride and joy is his motor-home. It symbolizes his A small shop, a secret recipe for meatballs and an angel trying to hopes for freedom and a better life in Italy; hopes which receive a earn his wings; the perfect ingredients for a star-studded romantic major blow when it’s impounded by the authorities. Undeterred, comedy. Heinrich is determined to stand up for his rights and fulfill his ambitions, the honest way. Slap in the middle of a rundown industrial area stands the run- down shop belonging to Christa (Katharina Thalbach) and Mike sees things completely differently and his criminal schemes husband Theo (Uwe Ochsenknecht). For them and their few only serve to put the tentative attempts at reconciliation between regular customers, especially Theo’s buddies, it’s a home away father and son to a hard test. from home. Business is bad. Not that it was ever any better. Everybody’s broke and Theo has been more than very generous ”The film shows the protagonists’ poverty,“ says writer-producer- in extending his friends credit. director Sözen. ”I don’t mean their financial poverty, but more their emotional poverty. Underscoring and emphasizing this are moments of wild amusement and scenes of triumphant self- proclamation. The film is intended to provoke social criticism.“ Gott ist tot is a story about home (as in where the heart is) and lack of orientation, social coldness and emotion.

Visually, Sözen has opted for a documentary-style narrative (”The camera works close up to the protagonists but still allows them room to breathe,“ he says) but not at the expense of what he calls ”poetical pictures.“

Götz George’s filmography embraces the best of late twentieth century German filmmaking. His credits include Schtonk! (1992, Helmut Dietl), The Deathmaker (Der Totmacher, 1995, Romuald Karmakar), Rossini (1997, Helmut Dietl), Solo for (Solo für Klarinette, 1998, Katharina Thalbach, Herbert Katharina Knaup (photo © teamWorx) Nico Hofmann), and After The Truth (Roland Suso When Theo suddenly dies, Christa’s left with a mountain of Richter). debts, her tyrannical mother and two daughters, Sonja (Anna Thalbach) and Dany (Regine Zimmermann), who really Markus Knüfken has featured in Knockin’ on Heaven’s don’t want to know; one’s busy flying around the world, the other Door (1996, Thomas Jahn), Bang Boom Bang – A Sure just wants an unpaid babysitter. And if that wasn’t enough, no Thing (1998, Peter Thorwarth) while Bastian Trost’s sooner is Theo safely six feet under than he’s back – as an angel credits include Aimée & Jaguar (1997, Max Färberböck) without his wings! They’ll grow only if he can make Christa happy. and After The Truth (also with Götz George). That’s a tall order because he certainly failed while he was alive. But Theo has an idea – the recipe for the best meatballs in the Kadir Sözen was born in Turkey in 1964 and came to Germany district should bring the customers flocking and the money pour- in 1969. He later studied Economics and worked as a freelance ing in. The perfect plan, if Christa wasn’t a committed vegetarian. journalist. His debut film, Freezing Nights, won five of the And when she falls in love with teacher and pigeon-fancier Jörg eight awards at the Adana Film Festival in 1995. His second film, (Herbert Knaup), it looks like the deal’s over. Winterflower (1996), has played in festivals around the world, winning awards in , Turkey and Portugal. A humorous and affectionate hommage to the people and the area of the Ruhr, Germany’s industrial heartland, Harte SK Brötchen (translates as ”Stale Rolls“) features Katharina Thalbach (from Sun Alley and The Manns) and Uwe Ochsenknecht, who won a German Television Award 2001 for Harte Brötchen his performance in the TV two-part society scandal-murder story, Vera Brühne. Also appearing is Anna Thalbach, who has also won a German Television Award 2001 for an episode of the Original Title Harte Brötchen Type of Project TV-movie famed crime series Tatort. Genre Romantic Comedy Production Company teamWorx Produktion für Kino und Fernsehen, Munich, for Bayerischer Sylvia Leuker wrote the script as part of the Bavarian Film Rundfunk, Munich With backing from Filmstiftung NRW, Center’s First Movie Program, while director Tim FilmFernsehFonds Bayern Producer Bettina Reitz Director Trageser is a second-place winner of the 2001 Studio Hamburg Tim Trageser Screenplay Sylvia Leuker Director of Newcomer’s Award for his debut film, Clowns. Director of photo- Photography Eckhard Jansen Editor Anja Pohl Principal graphy Eckhard Jansen’s previous credits include Clowns and Cast Katharina Thalbach, Uwe Ochsenknecht, Herbert Knaup, Peter Thorwarth’s Bang Boom Bang – A Sure Thing. Anna Thalbach Format Super 16 mm, color, 1:1.66 Shooting Harte Brötchen is a co-production of teamWorx and German Oberhausen and surrounding Language Shooting in (resp. Dr. Gabriela Sperl, area in October and November 2001 Brigitte Schroedter) for the public broadcaster ARD.

SK

Kino 1/2002 29 The Heimat-cycles have been shown in every part of the world Heimat 3 and have given people a new sense of the links between their lives and the course of history. The German word Heimat has Original Title Heimat 3 Type of Project TV-series become familiar throughout the world. Rarely has a film so firmly Genre Family Saga Production Company ERF Edgar Reitz secured its landscape and people in the hearts of its audience. Filmproduktion, Munich, in co-production with ARD/SWR, The Hunsrück and the valleys of the Rhine, Moselle and Nahe Baden-Baden, Arri Cine Technik, Munich Producer Robert have become symbols of heritage, change and return. The film’s Busch Director Edgar Reitz Screenplay Edgar Reitz, Thomas locations continue to lure tourists from different lands who want to see where the Simon family lived, who often feel they are as Brussig Director of Photography Thomas Mauch real as members of their own families. Principal Cast Henry Arnold, Salome Kammer, Matthias Kniesbeck, Michael Kausch Length 6 x 89 min Format 35 mm, Heimat 3 is not only the third part of the Heimat-trilogy, but color and b&w, Dolby Stereo Shooting Language German also a narrative inventory of the century in its final decade. Its Shooting in Rhineland-Pfalz, Berlin, Munich, Dresden, Leipzig, inner theme is one of endings and beginnings. It is a tragicomic Cologne, Heidelberg, Rome, Amsterdam in 2002-2003 film, telling of the spirit of renewal of the early 1990s, recording (18 calendar months) how what began as German dreams became less and less German, losing themselves instead in global immensity. World Sales: ARRI Media Worldsales · Antonio Exacoustos jun. Says co-author Thomas Brussig, ”The Heimat-cycle aims to Türkenstr. 89 · D-80799 Munich be close to people without becoming patronizing. It is artistic with- phone +49-89-38 09 12 88 · fax +49-89-38 09 16 19 out cutting itself off in an elitist way from the general public.“ www.arri-mediaworldsales.de · www.heimat3.de For co-author and director Edgar Reitz, ”storytelling has its email: [email protected] origins in personal recollection. The way to people’s hearts is through my own soul.“ And the Heimat-cycle reaches both heart and soul. SK Edgar Reitz Junimond

Original Title Junimond Type of Project Feature film Genre Tragicomedy, Love Story Production Company Road Movies Filmproduktion, Berlin, in co-production with WDR, Cologne With backing from Filmstiftung NRW Producers Ulrich Felsberg, Ute Schneider Patron Wim Wenders Director/Screenplay Hanno Hackfort Director of Photography Frank Grunert Principal Cast Laura Tonke, Oliver Mommsen, Teresa Harder, Stephan Kampwirth Format 24p Sony Cinealta, color, 16:9 Shooting Language German Shooting in Paderborn and surroundings in November & December 2001

Contact: Road Movies Filmproduktion GmbH Clausewitzstr. 4 · D-10623 Berlin phone +49-30-8 80 48 60 · fax +49-30-88 04 86 11 www.road-movies.de · email: [email protected]

A year after launching its ”Radikal digital“ initiative together The two film cycles, Heimat and Heimat 2, are recognized with WDR and Filmstiftung NRW, Road Movies began milestones in the history of television. This is largely due to the shooting the first of the selected projects this winter in and literary character of their narratives and their concentration on around the North Rhine-Westphalian town of Paderborn. people. The characters in this epic story of a total of 42 hours duration are more than mere cinematic fictions. Their realism and ”The special character of this initiative is that it is a package of five involvement in historical events have led them to being compared films which are all being shot with digital camera systems“, explains with the great characters of world literature. Road Movies head of development Ute Schneider, ”in the case of Junimond, we are working with the Sony 24p Cinealta Italy’s Corriere della Sera ranked Heimat and Heimat 2 among camera. This film is a very intimate, tragicomic love story which is the greatest achievements of European cinema. The New York very suited to being produced with digital cameras”. Times included them among the best of world television. To enter into their inner world and become caught up in the current of Junimond will be director Hanno Hackfort’s feature debut their narrative is to become addicted. after he made a couple of shorts and worked in the theater and as a sound engineer; it is also his first hands-on experience with state-of-the-art digital technology. ”The cameraman Frank Grunert has had some experience with the HD camera, but the

30 Kino 1/2002 in production

The idea for Mirjam Kubescha’s fourth film The Madonna of Vlatodon came to her when she was standing in front of one of Andrei Rublev’s icons in the Russian Museum in St. Petersburg.

Originally, she had planned the film to be a short exercise during her studies at the Academy of Television & Film in Munich, but then the project was put on the back burner when another two films took precedent. However, Kubescha doesn’t regret the delay because it gave the film ”time for the story to mature and formally to profit from subsequent experiences“.

The film follows the day in the life of an elderly museum guide and travels back in time through flashbacks to see her as a young Greek woman falling in love with a handsome German seaman and then following him back to his homeland. Laura Tonke, Oliver Mommsen (photo © Road Movies) Laura Tonke, As Kubescha recalls, the production was not without its own little dramas: shooting had to be brought forward a month be- cause of other commitments of lead actress Monika Bleib- treu, and then her cameraman Jörg Schmidt-Reitwein – with whom she had worked on Ecce Homo – was involved in a helicopter crash just ten days before principal photography was supposed to start. idea of ”Radikal digital” is that the young creative talents are With just six days to go and still no replacement, she decided to acquainted for the first time with this technology”, Schneider fulfill a long-held desire to work with an East European director of declares. photography and made contact with the 28-year-old Pole Pawel Sobcyk via film students in Moscow and Warsaw. ”It was spot Junimond centers on Paul who is constantly trying to escape his on because Pawel was in a similar period of his development as past and some traumatic experiences he had as a KFOR soldier in far as content was concerned. He wanted to put aesthetic de- Kosovo. He arrives in the small town of Paderborn from Berlin mands into the background in favor of more honesty“, she says. and becomes acquainted at a distance with a young woman, Nele, in his street. Gradually, something like trust and friendship devel- Together with the New York photographer and independent ops between the two and they begin to open up to each other filmmaker Eric van den Brulle, whom Kubescha had met at more and more. But a relationship is out of the question for both the Munich Film Festival, Sobcyk formed ”a great East-West of them as they believe that the beginning of a love affair is always team“, the young director explains. ”They complemented each the beginning of a painful ending. However, it is obvious to any other and me in such a way that this shooting certainly represents outside observer that they are in love with one another. It is only the most exciting and perhaps also most fruitful experience to when Paul is diagnosed with a terminal illness that the two at last date“. admit to their feelings for one another. MB

MB Die Madonna von Vlatodon

Original Title Die Madonna von Vlatodon (working title) English Title The Madonna of Vlatodon (working title) Type of Project Feature Film Cinema Genre Drama Production Company Confine Film, Munich, in co-production with ARRI, Munich, Cinecam, Munich, Academy of Television &

Film (HFF/M), Munich With backing from FilmFernsehFonds (photo © Eric van den Brulle) Mirjam Kubescha Bayern, Kuratorium junger deutscher Film Producer/ Director/Screenplay/Editor Mirjam Kubescha Directors of Photography Pawel Sobcyk, Eric van den Brulle Principal Cast Monika Bleibtreu, Maria Cordoni, Martin Glade Casting Franziska Aigner Kuhn, C.A.T., Munich Format Super 35 mm, color, cs, Dolby Digital Shooting Language Greek, German Shooting in Munich, Simbach and Greece in August and September 2001

Contact: Confine Film · Mirjam Kubescha Bayerisches Filmzentrum Geiselgasteig Bavariafilmplatz 7 · D-82031 Geiselgasteig phone +49-89-64 98 10 · fax +49-89-64 98 11 00 email: [email protected]

Kino 1/2002 31 Princess and The Warrior/Der Krieger und die Nackt Kaiserin) play Emilia and Felix who recently split up and are still coming to terms with the new situation, while Alexandra Original Title Nackt (working title) English Title Happy Maria Lara (from Crazy) and Jürgen Vogel (from Sass) Type of Project Feature Film Cinema Genre Drama are cast as Annette and Boris who are taking great pains to hold Production Company Constantin Film Produktion, Munich, on to their happiness together … although a bit more money Fanes Film, Munich, in co-production with Megaherz Film & coming in would not go amiss. Fernsehen, Munich With backing from Filmförderungsanstalt (FFA), FilmFernsehFonds Bayern Producer Norbert Preuss Finally, the round is completed by party hosts Charlotte and Dylan Director/Screenplay Doris Dörrie, based on her novel (played by Nina Hoss from Toter Mann and Mehmet Happy – Ein Drama Director of Photography Frank Griebe Kurtulus from The Tunnel) who may be the most attractive Editor Inez Regnier Principal Cast Heike Makatsch, Benno and successful couple on the block, but are not without their own Fürmann, Alexandra Maria Lara, Jürgen Vogel, Nina Hoss, Mehmet little crises. Kurtulus Format Super 35 Triple Perf, color, Dolby SR/SRD, cs Shooting Language German Shooting in Munich and Berlin As usual with Dörrie, one can expect to be treated to witty and from October to December 2001 German Distributor achingly true-to-life dialogues as the couples discuss their relation- Constantin Film Verleih GmbH, Munich ships, daily lives, and personal ideas about love, happiness and sex. And Nackt promises to be a real ensemble piece where the Contact: actors’ performances are very much to the fore. Fanes Film GmbH · Norbert Preuss Elizabethstr. 50 · D-80796 Munich MB phone +49-89-2 72 56 11 · fax +49-89-2 72 22 62 www.fanes-film.fnw.de · email: [email protected] Das Netz

Original Title Das Netz English Title The Net Type of Project Feature Film Cinema, with TV-version Genre Documentary Production Company LUTZ DAMMBECK FILMPRODUKTION, Hamburg, in co-production with SWR (Martina Zöllner), Baden-Baden, ARTE, Strasbourg With backing from FilmFörderung Hamburg, Filmboard Berlin- Brandenburg, Filmförderung Sachsen, Filmförderung Mecklenburg- Vorpommern, Filmbüro NW, MFG Baden-Württemberg Producer/Director/Screenplay Lutz Dammbeck Directors of Photography Thomas Plenert, Eberhard Geick Editor Margot Neubert Music by J.U. Lensing Principal Cast Nam June Paik, Stewart Brand, Marvin Minsky, Heinz von Foerster, John Perry Barlow, Hans Haacke, Bob Taylor, John Brockmann & others Format Super 16 mm & DigiBeta, color, blow up to 35 mm Shooting Language German, English Scene from the set ofScene from ”Nackt“ (photo © Constantin Film) Shooting in Hamburg, Berlin, Karlsruhe, , San Francisco, Pescadero, Los Angeles, San Jose, Boston, New Haven, New York from March through June 2002

Contact: LUTZ DAMMBECK FILMPRODUKTION Lutz Dammbeck Lornsenplatz 11 · D-22767 Hamburg phone +49-40-4 39 73 45 · fax +49-40-4 30 27 14 email: [email protected] Would you be able to recognize your partner with eyes blind- folded just by the sense of touch? Are you really sure that you would pick ”the right one“? Or would there be a nasty surprise? At any given second, millions of people are making their way through cyberspace, navigating the paths of the Internet without a In Doris Dörrie’s latest feature film Nackt (working title), second thought, walking the virtual corridors of knowledge and what begins as a party game between three couples at a dinner information with consummate ease. party takes on a whole new dimension as façades are gradually torn down, real feelings come to fore, and none of the relation- From its origins in the 1960s, its birthright the ethos of hippies, ships will ever be the same again. anti-Vietnam War protest and Free Love then permeating the laboratories of Stanford and MIT, and Cold War contracts from The Euro 3.4 million co-production between Constantin Film, the Department of Defense, how did it all now come together? Fanes Film and Megaherz is based on Dörrie’s latest novel Happy – Ein Drama, which appeared last autumn, and features ”The film is an investigation and reflection on the history of the some of the most exciting young acting talent to come out of Net,“ says Lutz Dammbeck, the man behind the project. Germany for a while. ”It looks at current developments in this digital and scientific revolution, computer development, data processing and the Heike Makatsch (who appeared in Late Night Shopping communications media, where images of a new world are being at the Berlinale last year) and Benno Fürmann (The drawn.“

32 Kino 1/2002 in production

Contact: ZOOM MEDIENFABRIK · Julia Kainz Schillerstr. 94 · D-10625 Berlin phone +49-30-31 50 68 68 · fax +49-30-31 50 68 58 www.zoommedienfabrik.de email: [email protected]

Production wrapped at the end of 2001 on Ralf Schmerberg’s Poem, an unusually ambitious film project which had traveled all over the globe during the last two years to find appropriate set- tings for the visual realization of 24 poems by such writers as diverse as Paul Celan, Heinrich Heine, Hermann Hesse, Hans Arp and Heiner Müller.

David Bennent, who came to international recognition over 20 years ago as ”Oskar Matzerath“ in The Tin Drum, was cho- First draft of a decentralized computer net by Paul Baran, 1963 sen to recite Georg Trakl’s Das Morgenlied, while Hermann van (Source: Computer Museum History Center) Veen traveled to the East German island of Usedom for Sophie Dammbeck also looks at the biographies, experiences and by Hans Arp, and Meret Becker gave a performance of aims of the Net’s important agents, the cyber elite. His particular Mascha Kaléko’s Sozusagen grundlos vergnügt in Berlin’s Hebbel interest is ”the role of the spirit of the ’60s, in the run-up to the Theater. realization of the first technical networks like the Arpanet.“ For another episode, director Schmerberg succeeded in per- Also under examination is the significance of modern art of the suading Luise Rainer, the ”grande dame“ of German cinema 1960s and its concepts of interactivity and networking. The Net from the 1930s, to come to Berlin for a recital of Goethe’s Gesang investigates the role and significance of philosophy, and, says der Geister über den Wassern, while Austrian actor-director Klaus Dammbeck, ”the walk between art, science and defense.“ Maria Brandauer was picked for Heine’s Der Schiffbrüchige. Other poems were transferred to the screen with the aid of His choice is personal, his inspiration that of cultural criticism, not artists from the worlds of dance and music as well as non-pro- journalism. fessionals.

”I’m particularly interested in the latest developments in the field The eclectic choice of poems was also reflected in the film’s of computer-business and ideas concerning new economic forms, locations – from the Himalayas through Brazil and the Easter pro- the free flow of ideas in the Net,“ he says, ”and the previous cessions in Spain to Germany’s new capital - as well as in the tech- notions of intellectual property, copyright, value, ownership which nical formats deployed, whether it be Super 8, 16 mm, 35 mm or are being thrown into question by the Internet.“ digital video. Moreover, Schmerberg’s project attracted such international cinematographers ranging from Darius Khondji How can the invisible aspects of these processes be made visible? (Seven) through Robby Müller (Breaking The Waves) What is the Net? Is it possible to touch it, see it, switch it on and to Jörg Schmidt-Reitwein (Woyzeck) taking on individual off at will? Who operates it? Who does it belong to? Where is it, episodes. or its individual components, situated? Before beginning work on Poem, director Ralf Schmerberg, In order to find out, award-winning documentary maker who discovered the medium of film in 1994 after having initially Dammbeck escapes the advertising world of virtuality and worked as a photographer, had made an international name for employs concepts and images from the pre-net period. Located himself as a director of commercials for such companies as Nike, between those who commercialize the Net and the intellectuals’ Mastercard, Afri Cola and HypoVereinsbank as well as music euphoria or cultural pessimism stands the silent power of the videos for artists like Die Toten Hosen, Die Fantastischen Vier and engineers. Their voice is also heard. Chaka Khan. SK MB Poem

Original Title Poem Type of Project Feature Film Cinema Genre Drama Production Company trigger happy produc- tions, Berlin, in co-production with @radical media, New York Producers Eva Meier-Schönung, Ralf Schmerberg, Ray Cooper, Jon Kamen Director Ralf Schmerberg Screenplay Ralf Schmerberg, Antonia Keinz Directors of Photography Darius Khondji, Robby Müller, Franz Lustig, Ali Gözkaya, Nicola Pecorini, Jörg Schmidt-Reitwein, Daniel Gottschalk, Jo Molitoris, Ralf Schmerberg Editors Rick Waller, Elena Bromund Principal Cast Klaus Maria Brandauer, Luise Rainer, Meret Becker, Jürgen Vogel, David Bennent, Hermann van Veen, Smudo Format 35 mm, color, 1.1:85 Shooting Language German Shooting in Germany, Spain, USA, Vietnam, Nepal and Iceland from April 2000 to December 2001 Meret Becker (photo © Stephan Vens/trigger happy productions)

Kino 1/2002 33 Among other famous personalities who made Usedom home away from home are , Victor Klemperer, Maxim Gorki and Hans W. Richter. Contemporary residents include Wolf Biermann, Karl-Eduard von Schnitzler and the documentarist and painter Jürgen Böttcher, also known as ”Strawalde“.

”Generally speaking, it is not easy for an artistically ambitious documentary to gain theatrical distribution or a broadcast slot," says award-winning producer Herbert Kruschke (among several, German Film Award for Verrieglte Zeit, 1991, director Sybelle Schönemann). "This is a genre which is often neglec- ted and shouldn’t be.

”The author (Heinz Brinkmann) has a special relationship with the landscape and the art it inspires and I was immediately interested in the project. "We are aiming the film at a small, spe- cialized, audience which appreciates quality content and narrative.“ Heinz Brinkmann SK Usedomer Maler Weihnachten

Original Title Usedomer Maler (working title) Type of Original Title Weihnachten Type of Project Feature Film Project Feature Film Cinema, plus TV-version Genre Cinema Genre Drama Production Company BojeBuck Documentary Production Company Kruschke Film- und Produktion, Berlin, in co-production with Langfilm, Zurich, and Fernsehproduktion, Berlin, in co-production with artia nova, WDR, Cologne With backing from Filmstiftung NRW Hanover, in cooperation with NDR, Hamburg, SWR, Stuttgart Producers Claus Boje, Detlev W. Buck, Bernhard Lang With backing from Filmförderung Mecklenburg-Vorpommern Director Marc-Andreas Bochert Screenplay Michael Producer Herbert Kruschke Director/Screenplay Heinz Lewinsky Director of Photography Eva Fleig Editor Brinkmann Director of Photography Hartmut Schulz Antonia Bergmiller-Fenn Music by Michael Schenk Editor Karin Schöning Format 35 mm, color, 1:1.33 Principal Cast Fabian Busch, Eva Mende, Traute Hoess, Eva Shooting Language German Shooting in Usedom, Berlin, Hassmann, Katharina Schüttler, Harald Koch Format Super February through December 2002 German Distributor 16 mm, color Shooting Language German Shooting in Progress Film-Verleih GmbH, Berlin Cologne in November and December 2001

Contact: Contact: Kuschke Film- und Fernsehproduktion BojeBuck Produktion GmbH Herbert Kruschke Kurfürstendamm 225 · D-10117 Berlin Burgstr. 27 · D-10178 Berlin phone +49-30-8 85 97 40 · fax +49-30-88 59 74 15 Phone +49-30-24 72 03 03 · fax +49-30-24 72 03 04 www.bojebuck.de · email: [email protected] email: [email protected] Shooting wrapped appropriately just before Christmas on Marc- Andreas Bochert’s first feature-length film Weihnachten, The Baltic Sea island of Usedom exercises a physical and meta- which was originally developed by screenwriter Michael physical attraction for like few other parts of the coun- Lewinsky for Swiss producer Bernhard Lang. try. With its unique stretches of unspoiled beaches, its extensive tracts of forests and rolling fields, not to say thriving communities ”They then participated in the script development program "Step based around the various inlets, it has been, and still is, an irre- by Step" and looked for a German co-producer – which is where sistible magnet for artists, exercising an appeal on the soul. we came in and then brought on WDR and Marc-Andreas“, recalls Claus Boje of the Berlin-based production outfit In the 1920s, the island was known as the ”Badewanne von Berlin“ Boje Buck Produktion, whose credits include Jailbirds (”The Bathtub of Berlin“) after the Kaiser decided it was the per- (Männerpension), Sun Alley (Sonnenallee) and fect place to unpack the imperial swimming trunks and enjoy the, Conamara. sometimes bracing, onshore breeze. Today, it is still an extremely popular holiday and weekend destination. ”While developing the project we didn’t plan from the outset that the film would be a cinema release but aimed it budget-wise more Usedomer Maler (literally, “Usedom Artists”, as in painters) is in the realm of television“, he continues. ”Our Swiss partner a film by Heinz Brinkmann (script, direction), who was born Bernhard Lang will definitely release the film in the cinemas on the island and still resides there. The central theme of his film since the markets in Switzerland and Germany are quite different is an examination of the question why so many artists have fallen as far as the distribution of quality films are concerned. Here we under the island’s spell and become so attached to it. have an option and the Filmstiftung NRW and WDR are both prepared to let the film be released theatrically if it looks to Otto Niemeyer-Holstein and Lyonel Feininger are perhaps the make sense“. most important representatives of an illustrious, provocative and politically very mixed group of painters and artists who, since the ”Weihnachten is about Christmas, about the way of celebra- 1930s, have become inseparable from the island of Usedom. The ting Christmas Eve“, Boje explains. ”In the Western world, it is film shows how they, and others, both captivated and horrified really the only day to which one must react in some kind of way, the locals with their art and antics. where you can’t simply say: let’s take the day off or organize a

34 Kino 1/2002 in production

the enemy’s inner workings. In this way, knowledge is gained regarding the thoughts, feelings, behavior patterns and psychologi- cal traits of the adversary, which may provide precious keys in his dismantling and liquidation, in gaining influence over him, and in his decomposition and recruitment …“ – a brief extract from the chil- lingly brutal working guidelines for the staff who worked at the central preventive prison for political prisoners of the Ministry for State Security (the STASI) in Berlin’s Hohenschönhausen district under the former repressive East German regime.

However, this prison – the subject of Nina Toussaint and Massimo Iannetta’s documentary The Decomposition of the Soul – was no ordinary detention center. The building – which never figured on maps of East Berlin and which, today, still bears the marks of Germany’s recent past (Nazism, the Soviet occupation and the Communist dictatorship) – has the sinister distinction of possessing as many interrogation rooms as detention cells. Its topology and organization betray its true function – a huge interrogation center, a veritable laboratory of psychological Eva Hassmann (photo © BojeBuck) destruction. It is a symbol of the ex-German Democratic Republic (GDR)’s general system of repression: a place dedicated and party. That day always has something to do with the family, being devoted to the art of ”operative decomposition“. one of reflection, where do I come from, what kind of impor- tance do I have, what importance do I have for others?" As the filmmakers explain, the arrest of a suspected enemy of the state was ”of course, part of the procedural process. It may be In this tale, which was shot in "studio" conditions in a newly limited to intimidation, or lead to an ”investigation“ with graver renovated house in Cologne, the action centers on five different consequences: permanent preventative detention, repeated inter- apartment dwellers or couples and shows how their lives are rogations, total isolation, the semblance of a trial, heavy sentences, interwoven. the impossibility of social and professional reinsertion, harm inflicted upon loved ones, stripping of nationality and expulsion Bochert came to wider international recognition last year with from the country, incitement to suicide, or even thinly disguised his graduation film, Small Change (Kleingeld), from the murder“. ”Konrad Wolf“ Academy for Film & Television in Babelsberg, which won the Foreign Student Oscar in 1999 and was nominated in Part of the detention center’s buildings have now been taken over the live-action short film category for the in 2000. by offices and shops, but a STASI museum was opened there to inform about the inhumanity of the GDR’s state security system, MB and in October 2001, the Free Democratic Party tabled a motion to the Bundestag calling for the Hohenschönhausen detention center to be preserved as a permanent memory to the second Zersetzung dictatorship under the Socialist Unity Party of Germany (SED)’s regime alongside the STASI headquarters in Normannenstrassee and the Berlin Wall memorial at Bernauer Strasse. der Seele MB

Original Title Zersetzung der Seele English Title The Decomposition of the Soul Type of Project Feature Film Cinema Genre Documentary Production Company Lichtfilm, Cologne, in co-production with Image Creation, Brussels, RTBF, Brussels, CAB, Brussels, NDR, Hamburg, ARTE, Strasbourg With backing from FilmFörderung Hamburg, Communauté Française Producers Wolfgang Bergmann, Martine Barbé Directors/Screenplay Nina Toussaint, Massimo Iannetta Director of Photography Raymond Froment Editor Sandrine Deegen Format Super 16 mm, 80 min Shooting Language German Shooting in Berlin, Magdeburg and Nuremberg from January 2002

Contact: Lichtfilm · Wolfgang Bergmann Kasparstr. 26 · D-50670 Cologne phone +49-2 21-9 72 65 17 · fax +49-2 21-9 72 65 18

www.lichtfilm.de · email: [email protected] "The Decomposition ofScene from the Soul" (photo © Lichtfilm)

”The operative’s psychology is to be besieged using procedural processes, interrogation and prior intelligence, so as to penetrate

Kino 1/2002 35 Unter den Brücken UNDER THE BRIDGES Scene from ”Under the Bridges“ (photo Scene from © Filmmuseum Berlin/Deutsche Kinemathek)

Hendrik and Willi are the owners and crew of a canal barge. They travel up and down the Havel River, have girlfriends here and there, and dream of a ”solid“ life. One evening they observe a young girl, Anna, who is apparently about to jump off a bridge. They both run to save her, but are ”disappointed“ to find out that she only threw a ten mark note into the river in hopes of ridding herself of a bad memory. Anna is persuaded to travel back to Berlin as a ”passenger“ with them, and the two friends soon fall in love with her. After an insulting comment from Willi, Anna leaves the boat, and the two men make an agreement with one another: whoever wins Anna back must forfeit his claim to the barge. Feeling sure of himself, Willi goes on land and looks after her. However, he soon realizes that she is in love with Hendrik, and is honest enough to confess this realization to his friend. But his friendship with Hendrik is more important to him than their agreement, and so the three start a new life on board the barge, all together.

Genre Drama, Love Story Category Feature Helmut Käutner was born in 1908 in Düsseldorf and died in 1980 Film Cinema Year of Production 1944/45 in Italy. He studied German, Art History, Philosophy, Psychology and Director Helmut Käutner Screenplay Walter Theater Studies. He was one of the founding members of the cabaret Ulbrich, Helmut Käutner Director of Photog- group ”Die vier Nachrichter“, which was banned in 1935. Originally raphy Igor Oberberg Editor Wolfgang Wehrum working in the theater as an actor and director, he began his film work Music by Bernhard Eichhorn Production as a scriptwriter. His directorial debut was with the film Kitty and Design Anton Weber, Herbert Kirchhoff the World Conference (Kitty und die Weltkonferenz, Producer Walter Ulbrich Production 1939), but the film was withdrawn due to its ”pro-English tendencies“. Company Ufa-Filmkunst, Berlin Principal Cast His other films include: Kleider machen Leute (1940), Auf Hannelore Schroth, , Gustav Knuth, Wiedersehen, Franziska! (1941), Anuschka (1942), Ursula Grabley, Margarete Haagen, Hildegard Knef, Romance in a Minor Key (Romanze in Moll, 1943), Great Erich Dunskus, Walter Groß Length 92 min, Freedom No. 7 (Große Freiheit Nr. 7, 1944), The Original 2517 m Format 35 mm, b&w, 1:1.37 Original Sin (Der Apfel is ab, 1948), The Last Bridge (Die letzte Version German Subtitled Versions Arabic, Brücke, 1953) – winner of a German Film Award in 1954, Sky English, French, Greek, Italian, Japanese, Without Stars (Himmel ohne Sterne, 1955), The Devil’s Portuguese, Spanish Sound Technology Mono General (Des Teufels General, 1955), The Captain of German Distributor Friedrich-Wilhelm- Köpenik (Der Hauptmann von Köpenik, 1956) - winner of Murnau-Foundation, Wiesbaden two German Film Awards in 1957, The Affairs of Julie (Die Zürcher Verlobung, 1957), The Restless Years (Zu jung, 1958), Stranger in My Arms (Ein Fremder in meinen Armen, 1959), Lausbubengeschichten (1964), Die Feuerzangenbowle (1970) and many, many more.

World Sales: Transit Film GmbH · Loy W. Arnold, Mark Grünthal Dachauer Str. 35 · D-80335 Munich phone +49-89-5 99 88 50 · fax +49-89-59 98 85 20

THE 100 MOST SIGNIFICANTTHE 100 GERMAN FILMS – 18 email: [email protected]

36 Kino 1/2002 Die Nibelungen: Siegfried (Teil 1) SIEGFRIED (PART 1) Scene from "Siegfried" (photo Scene from © Filmmuseum Berlin/Deutsche Kinemathek)

Siegfried, son of King Siegmund of the Nibelungen, is apprenticed to a blacksmith, who helps him forge a special sword. He then sets off to the court of King Gunther of Worms, seeking the hand of Gunther’s beautiful young sister, Princess Kriemhild. On the way to Worms, Siegfried encounters and slays a dragon and bathes in its blood. He also defeats Alberich, the dwarf Lord Treasurer to the Nibelungen dynasty, and captures the Nibelungen treasure. Upon arrival at the castle of King Gunther, Siegfried is opposed by Gunther’s half-brother Hagan, who is jealous of the young and handsome Siegfried. In order to win Kriemhild’s hand in marriage, Siegfried must help Gunther in likewise winning the hand of Brunhild. Later, during an encounter with Kriemhild, Brunhild learns how Siegfried and Gunther had deceived her and orders for Siegfried to be killed. Hagan kills the young hero and Kriemhild vows revenge …

Genre Drama, Fantasy Category Feature Film Cinema Fritz Lang, born in 1890 in Vienna, was more than just a Year of Production 1922-24 Director Fritz Lang great director. He was a man who staged himself and his life, Screenplay Thea von Harbou Directors of who created the legend of his person, who wanted his private Photography Carl Hoffmann, Günther Rittau Music life to remain invisible in order to further launch his desired by Gottfried Huppertz (1924), Konrad Elfers (1965) public image. He celebrated his first success during the Production Design Otto Hunte, , Karl , reacting to the massive political and social Vollbrecht Producer Erich Pommer Production changes of the time and integrating them into his work. He left Company Decla-Bioscop, Berlin Principal Cast Paul Germany in 1933, emigrating via France to the United States in Richter, Margarethe Schön, Hanna Ralph, Theodor Loos, 1934, where he continued to tie political aspects into his work. Hans Adalbert Schlettow, Bernhard Goetzke, Erwin His best known films from his work in Germany include: Biswanger, Georg John, Gertrud Arnold, Hans Carl Spiders (Die Spinnen, 1919), Plague in Florence Müller, Hardy von François, Frida Richard Special (Die Pest in Florenz, 1919), Madame Butterfly Effects Walther Ruttmann Studio Shooting Ufa (Harakiri, 1919), The Wandering Image (Das wan- Atelier, Neubabelsberg Length 143 min, 3210 m dernde Bild, 1920), Kämpfende Herzen (1920/21), Format 35 mm, b&w, 1:1.37 Original Version silent Destiny (Der müde Tod, 1921), The Indian Tomb with German intertitles Intertitled Version English (Das indische Grabmal, 1921), Dr. Mabuse, The German Distributor Friedrich-Wilhelm-Murnau- Gambler (Dr. Mabuse, der Spieler, 1922), Metro- Foundation, Wiesbaden polis (1925/26), Spies (, 1927/28), (Frau im Mond, 1928/29) and many more.

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Kino 1/2002 37 Die Nibelungen: Kriemhilds Rache (Teil 2) KRIEMHILD’S REVENGE (PART 2) Scene from ”Kriemhild’s Revenge“ ”Kriemhild’s (photo Scene from © Filmmuseum Berlin/Deutsche Kinemathek)

As part of her scheme of revenge, Kriemhild travels to the land of the Huns to marry King Etzel. Upon the birth of their son, she invites Gunther and Hagan to Etzel’s court for a celebration. As Hagan holds the baby in his arms, he hears the news that the Huns have killed some of his fellow Nibelungen warriors. Enraged, Hagan then kills the baby. In the ensuing fight, Kriemhild stabs and kills Hagan with Siegfried’s sword. She too is then killed, but is finally at peace.

Genre Drama, Fantasy Category Feature Film Cinema Fritz Lang, born in 1890 in Vienna, was more than just a Year of Production 1922-24 Director Fritz Lang great director. He was a man who staged himself and his life, Screenplay Thea von Harbou Directors of who created the legend of his person, who wanted his private Photography Carl Hoffmann, Günther Rittau life to remain invisible in order to further launch his desired Music by Gottfried Huppertz (1924), Konrad Elfers public image. He celebrated his first success during the (1965) Production Design Otto Hunte, Erich Weimar Republic, reacting to the massive political and social Kettelhut, Karl Vollbrecht Producer Erich Pommer changes of the time and integrating them into his work. He left Production Company Decla-Bioscop, Berlin Germany in 1933, emigrating via France to the United States in Principal Cast Margarethe Schön, Paul Richter, Rudolf 1934, where he continued to tie political aspects into his work. Klein-Rogge, Theodor Loos, Hans Adalbert Schlettow, His best known films from his work in Germany include: Bernhard Goetzke, Erwin Biswanger, Georg John, Spiders (Die Spinnen, 1919), Plague in Florence Gertrud Arnold, Hans Carl Müller, Hardy von François, (Die Pest in Florenz, 1919), Madame Butterfly Frida Richard, Hubert Heinrich, Rudolf Rittner (Harakiri, 1919), The Wandering Image (Das wan- Special Effects Walther Ruttmann Studio dernde Bild, 1920), Kämpfende Herzen (1920/21), Shooting Ufa Atelier, Neubabelsberg Length Destiny (Der müde Tod, 1921), The Indian Tomb 144 min, 3358 m Format 35 mm, b&w, 1:1.37 (Das indische Grabmal, 1921), Dr. Mabuse, The Original Version silent with German intertitles Gambler (Dr. Mabuse, der Spieler, 1922), Metro- Intertitled Version English German Distributor polis (1925/26), Spies (Spione, 1927/28), Woman in Friedrich-Wilhelm-Murnau-Foundation, Wiesbaden the Moon (Frau im Mond, 1928/29) and many more.

World Sales: Transit Film GmbH · Loy W. Arnold, Mark Grünthal Dachauer Str. 35 · D-80335 Munich phone +49-89-5 99 88 50 · fax +49-89-59 98 85 20

THE 100 MOST SIGNIFICANTTHE 100 GERMAN FILMS – 19 email: [email protected]

38 Kino 1/2002 Der letzte Mann THE LAST MAN Scene from "The Last Man" (photo Scene from © Filmmuseum Berlin/Deutsche Kinemathek)

The porter of the grand hotel is old and feeble and, although he does his job well, he is stripped of his identity and pride when the hotel director demotes him to a restroom attendant. On the very day of his demotion, his niece celebrates her wedding. He secretly wears his old uniform so that he too can shine among the guests at the wedding. But his few moments of regained pride turn out to be a harsh awakening when he is recognized by an envious colleague. The poor old man seems doomed to spend his remaining years cleaning up the hotel restrooms, until a wealthy young man dies in his restroom one day, and leaves his estate to the person in whose arms he dies.

Genre Drama Category Feature Film Cinema Friedrich Wilhelm Murnau was born Friedrich Year of Production 1924 Director F.W. Murnau Wilhelm Plumpe in in 1888 and died in Santa Screenplay Carl Mayer Director of Photog- Barbara, California in 1931. He studied Philology in Berlin raphy Karl Freund Music by Giuseppe Becce (1924), and Art History and Literature in Heidelberg, and then Peter Schirmann (1964), Werner Schmidt-Boelcke (1984) broke off his studies to attend the Max Reinhardt Drama Production Design Robert Herlth, Walter Röhrig School in Vienna, becoming a regular member of the Producer Erich Pommer Production Company ensemble in 1913. He directed such films as Nosferatu Union-Film der Universum-Film (Ufa), Berlin Principal (1922), Faust – A German Folk Tale (Faust – Cast Emil Jannings, Maly Delschaft, Max Hiller, Emilie eine deutsche Volkssage, 1925/26) and Tartüff Kurz, Hans Unterkircher, Olaf Storm, Hermann Vallentin, (1926), among others. In 1925 he received a four-year Georg John, Emmy Wyda, Erich Schönfelder Special contract from Hollywood and made the masterpiece Effects Ernst Kunstmann Studio Shooting Ufa Sunrise (1927). He then severed his contract to make Atelier, Berlin-Tempelhof Length 75 min, 2010 m Tabu in the South Seas, but was killed in a car accident a Format 35 mm, b&w, 1:1.37 Original Version silent week before Tabu’s premiere in 1931. with German intertitles Intertitled Versions English, French German Distributor Friedrich-Wilhelm- Murnau-Foundation, Wiesbaden

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Kino 1/2002 39 Der müde Tod DESTINY Scene from ”Destiny“ Scene from (photo © Filmmuseum Berlin/Deutsche Kinemathek)

A young girl must face Death to plead for the life of her deceased lover. Death confronts the young girl with a condition which she must fulfill if she wishes to be reunited with her lover. He tells her three stories set in exotic locales, all involving circumstances similar to her own. She must save the life of at least one of the characters in the stories in order to be with her lover again. As she realizes that she cannot save any of them, she pleads with Death to sacrifice her own life instead. Not until she dies while trying to save a child’s life from a fire is she reunited with her lover.

Genre Drama, Fiction Category Feature Film Fritz Lang, born in 1890 in Vienna, was more than just a Cinema Year of Production 1921 Director great director. He was a man who staged himself and his life, Fritz Lang Screenplay Fritz Lang, Thea von who created the legend of his person, who wanted his private Harbou Directors of Photography Fritz life to remain invisible in order to further launch his desired Arno Wagner, Erich Nitzschmann, Hermann public image. He celebrated his first success during the Weimar Saalfrank Editor Fritz Lang Music by Giuseppe Republic, reacting to the massive political and social changes of Becce (1921), Peter Schirmann (1966), Wilfried the time and integrating them into his work. He left Germany in Schröpfer (1983), Karl-Ernst Sasse (1996) 1933, emigrating via France to the United States in 1934, where Production Design Walter Röhrig, Hermann he continued to tie political aspects into his work. His best Warm, Robert Herlth Producer Erich Pommer known films from his work in Germany include: Spiders (Die Production Company Decla-Bioscop, Berlin Spinnen, 1919), Plague in Florence (Die Pest in Principal Cast Lil Dagover, Walter Janssen, Max Florenz, 1919), Madame Butterfly (Harakiri, 1919), Adalbert, Bernhard Goetzke, Rudolf Klein-Rogge, The Wandering Image (Das wandernde Bild, 1920), Wilhelm Diegelmann, Hans Sternberg, Eduard von Kämpfende Herzen (1920/21), The Indian Tomb Winterstein, Erika Unruh, Lewis Brody, Lothar (Das indische Grabmal, 1921), Dr. Mabuse, The Müthel, Ernst Rückert, Erich Pabst, Karl Platen, Paul Gambler (Dr. Mabuse, der Spieler, 1922), Die Biensfeldt Studio Shooting Decla-Bioscop Nibelungen (1922-24), Metropolis (1925/26), Spies Atelier, Berlin Length 82 min, 2156 m Format (Spione, 1927/28), Woman in the Moon (Frau im 35 mm, b&w, 1:1.37 Original Version silent Mond, 1928/29) and many more. with German intertitles Subtitled Versions French, Japanese German Distributor Friedrich-Wilhelm-Murnau-Foundation, Wiesbaden

World Sales: Transit Film GmbH · Loy W. Arnold, Mark Grünthal Dachauer Str. 35 · D-80335 Munich phone +49-89-5 99 88 50 · fax +49-89-59 98 85 20

THE 100 MOST SIGNIFICANTTHE 100 GERMAN FILMS – 21 email: [email protected]

40 Kino 1/2002 www. german- cinema. de/

INFORMATION ON GERMAN FILMS.

GERMAN CINEMA

Export-Union des Deutschen Films GmbH Sonnenstrasse 21 · D-80331 Munich · phone +49-89-5 99 78 7 0 · fax +49-89-59 97 87 30 · email: [email protected] Absolut Warhola

Located somewhere in the middle of nowhere, in the "Ruthenian Bermuda Triangle" between Slovakia, Poland and the Ukraine, is Europe’s only Pop Art Museum. Stanislaw Mucha’s light-hearted documentary traces the roots of America’s pop-icon Andy , whose family heritage can be tracked down to the town of and the neighboring village of Miková. His clan has always lived here, and they always will. His aunts and cousins have lots of time, they have schnapps, they are out of work, and they have each other, but everyone of them also has a vague idea of Warhol: His name has become a legend, a vision, a tangible link to a world they cannot comprehend, a world so big and so incredibly far away. (photo © M. Görowski)

Genre Art, Comedy Category Documentary Cinema & TV Stanislaw Mucha was born in 1970 in Year of Production 2001 Director/Screenplay/Editor Nowy Targ/Poland. He studied Acting at Stanislaw Mucha Director of Photography Susanne Schüle the Ludwik Solski Drama School in Cracow, Music by Drislak, Pierre Brand Producer Dieter Reifarth graduating with an M.A. in 1993. He then Production Company strandfilm productions, Frankfurt, in joined Cracow’s Old Theatre. In 1995, he co-production with Pandora Film, Cologne, in cooperation with decided to go to Berlin and studied Film HR, Frankfurt, WDR, Cologne, ZDF, Mainz, 3sat, Mainz Directing at the ”Konrad Wolf“ Academy Principal Cast Maria Warhola, Michal Warhola, Helena of Film and Television, which he concluded Bezeková, Ingrid Bosnovicová, Eva Prextová, Janko Zavacky´, in 2000. Absolut Warhola is after Dr. Milchal Bycko, Janko Flaska, Fero Lakata Length 80 min Polish Passion (Polnische Passion, (TV version 60 min), 2199 m Format Super 16 mm Blow up documentary, 1996/97) and Back Home 35 mm, color, 1:1.66 Original Version Ruthenian, Slovakian to the Reich with Bubi (Mit Bubi Subtitled Version English Sound Technology Dolby SR heim ins Reich, documentary, 2000) his Festival Screenings Leipzig 2001 (in competition), Duisburg third feature-length documentary. Documentary Film Festival 2001 (opening film), Mannheim 2001 (in competition), Kassel 2001 (opening film), Berlin 2002 (Perspective German Cinema) Awards Best Photography, Don Quijote Award & Audience Award Leipzig 2001, Audience Award Duisburg 2001, Audience Award Mannheim 2001, Best Upcoming Director & Best Upcoming Cinematographer from the DEFA Foundation Berlin 2001 With backing from FilmFörderung Hamburg, Hessische Filmförderung, Kuratorium junger deutscher AT BERLIN Film German Distributor Pegasos Filmverleih & Produktion GmbH, Frankfurt PERSPECTIVE GERMAN CINEMA

World Sales: Media Luna Entertainment GmbH & Co. KG · Ida Martins Hochstadenstr. 1-3 · D-50674 Cologne phone +49-2 21-1 39 22 22 · fax +49-2 21-1 39 22 24 www.medialuna-entertainment.de · email: [email protected]

42 Kino 1/2002 Am Rande der Zeit – Männerwelten im Kaukasus ON THE EDGE OF TIME – MALE DOMAINS IN THE CAUCASUS

A journey through everyday life in far off, tough male domains, which at the same time is an ex- cursion into Caucasian history. In Moscow the people of the Caucasus are often called ”the Blacks“ and are thought of as having a dark and mysterious soul. Nevertheless, it’s the ”soft center“ of these ”hard men“ which gradually gains the upper hand in this film. Broken dreams, a lack of future prospects. And, of course, it’s not just the men who have to assert themselves in this rough post-Soviet world. Whether in the almost mediaeval village of Ushguli in Svaneti, on oil rigs in the Caspian Sea, in the Koran school of a village in the northern Caucasus or in a home for the blind on Georgia’s Black Sea coast – everywhere we find traces of the bygone Soviet days. On the Edge of Time takes us to a wonderfully wild landscape. A poetic journey to a far-off land of adventure. Scenes from ”On the Edge ofScenes from – Male Domains in the Caucasus“ (photo Time © Applaus Film)

Genre Action/Adventure, Educational, Family Stefan Tolz was born in 1966. He studied from 1986-1993 at Category Documentary Cinema Year of the Academy of Television & Film in Munich and at the Cinema Production 2001 Director Stefan Tolz Directors Faculty of the Georgian State Theater Institute in Tbilisi and was of Photography Thomas Riedelsheimer, Holger a guest student at New York University and the Beijing Film Schüppel, Dieter Stürmer, Nugsar Nozadze Editors Academy. From 1993-99, he worked as a freelance writer, director Cordula Krämer, Thomas Riedelsheimer Music by and producer in Cologne for various television series. Since 1998, Sean Hara, Gija Kantcheli, Temur Babluani Producer he has had teaching appointments in the fields of Documentary Stefan Tolz Production Company Applaus Film Film and Television Publicity in Germany and Austria. His other Media, Munich, co-production with SWR, Baden- films include: Power Lies Elsewhere (Die Macht liegt Baden, MDR, Leipzig, WDR, Cologne, in co-operation woanders, 1989), Applause Appreciated (Wir bitten with ARTE, Strasbourg Length 90 min, 2700 m um freundlichen Applaus, 1990), Caucasian Banquet Format Super 16 mm Blow up 35 mm, color, (Kaukasisches Gastmahl, 1991), Beijing Courtyard 1:1.66 Original Version Russian/Georgian/Svanish/ (Viereckhof Peking, 1993), Schwan’s Way (Mein lieber Awarish Dubbed Versions English, French, German Schwan, 1994), Golden Wedding (Goldhochzeit – 50 Subtitled Versions English, German Sound Jahre Ehe in Deutschland, 1995), Kinzig Valley Technology Dolby SR International Festival (Kinzigtal – zwischen Bollenhut und Aids-Hospiz, Screenings Amsterdam 2001 (in competition) 1996), Faroe Islands (Färöer, 1997), The Merzbach Kiosk (Merzbachs Büdchen, 1998), and Bosporus (1999).

World Sales: please contact Applaus Film Media GmbH · Stefan Tolz Viktoriastr. 34 · D-80803 Munich phone +49-89-38 32 98 19 · fax +49-89-39 35 94 www.on-the-edge-of-time.de · www.applausfilm.de · email: [email protected]

Kino 1/2002 43 Baader

This is the story of Andreas Baader. A car thief who, within a few years, became a revolutionary theorist of the armed left. The film describes the time from 1967, when Baader was yet again serving a sentence in Traunstein for driving without a license and for car theft, until 1972 and the memorable time in Frankfurt, when the state and the RAF (Red Army Faction) faced each other in Hofeckweg. Hundreds of police, some in plain- clothes and protected by builders’ helmets, and on the other side Baader, Meins and Raspe, the hard core, with sunglasses and leather jackets, laughing and shouting. Laura Tonke, Frank Giering Laura Tonke,

Genre Biopic, History, Thriller Category Feature Christopher Roth was born and raised in Munich, Film Cinema Year of Production 2000-02 and studied at Munich’s Academy of Television & Film Director Christopher Roth Screenplay Moritz (HFF/M) from 1983-89. He is the author of the book von Uslar, Christopher Roth Directors of 220D, published by Belleville and was editor-in-chief of Photography Jutta Pohlmann, Bella Halben the magazine Elaste from 1984-86. He has edited films Editors Christopher Roth, Barbara Gies Music by by Andy Engel, Klaus Lemke, Isaac Julien and Amadu Trans Am, Suicide, Can, Beethoven Production Seck. As an artist, he has had exhibitions with Franz Design Attila Saygel, Oliver Krönke, Tobias Nolte Stauffenberg in Berlin, Zurich, Rio and New York and Producers Mark Gläser, Stephan Fruth, Christopher participated in the Sao Paulo Biennale in 1991, the Roth Production Company 72film, Berlin in co- Venice Biennale in 1993 and the Berlin Biennale in production Spiel.Film, Munich, Leading Edge, Barcelona 2001. His other films include the shorts Happier Principal Cast Frank Giering, Laura Tonke, Vadim Days and Hawaii ’96, over 100 advertising spots, Glowna, Birge Schade, Jana Pallaske, Michael Sideris the feature Looosers (1995) and the TV-movie Length 209 min, 1458 m Format 16 mm Blow Candy (1998). up 35 mm, color, 1:1.85 Original Version German Subtitled Version English Sound Technology Dolby Digital International Festival Screenings Berlin 2002 (in competition)

World Sales: please contact AT BERLIN 72film GmbH & Co KG Grossbeerenstr. 71 · D-10963 Berlin IN COMPETITION phone +49-30-47 37 27 41 · fax +49-30-47 37 27 55 www.baader-derfilm.com · email: [email protected]

44 Kino 1/2002 Babij Jar

Autumn 1941. The Russian army flees Kiev, chaos reigns, soldiers attempt to trade their uniforms for civilian clothes in order to escape unnoticed. The war and pending capture of Kiev by the Germans is the only topic of discussion. Everyone has heard of the horrible things that have happened in other areas, where Jews were brutally and inhumanely mur- dered. Indecision and despair spread like wildfire among the population. As the German army marches in, fear and horror take over. Babij Jar is the tragic story of two families’ desperate attempt to survive the death and destruction of the Holocaust. Katrin Sass (photo Katrin © CCC-Filmkunst)

Genre Drama Category Feature Film Cinema From 1966-1978, Jeff Kanew was the creator of Year of Production 2001 Director Jeff Kanew trailers for such films as The Graduate, The Lion in Screenplay Stephen Glantz, based on a story by Winter, The Good, The Bad and The Ugly, Midnight Art Bernd Directors of Photography Alexander Cowboy, Rocky, One Flew Over the Cuckoo’s Nest, Annie Rud, Tatyna Loginova Editors Keff Kanew, Art Bernd Hall and over 500 others. He has also directed the Music by Walter Werzowa Production Design films: Black Rodeo (documentary, 1972), Natural Igor Topilin Producer Artur Brauner Production Enemies (1978), Eddie Macon’s Run (1982), Companies CCC-Filmkunst, Berlin, Gran Film, (1984), Gotcha! (1985), Moscow Principal Cast Michael Degen, Katrin Sass, an episode of Alfred Hitchcock Presents (TV, 1985), Axel Milberg, Barbara de Rossi and others Special (1986), Troop Beverly Hills Effects Vyatcheslaw Zemnokho Length 118 min, (1989), V.I. Warshawski (1991), as well as several 3200 m Format 35 mm, b&w, 1:1.66 Original episodes of the TV-series Touched by an Angel (1994). Version Russian/German Dubbed Version German Sound Technology Dolby With backing from Filmboard Berlin-Brandenburg German Distributor X Verleih AG, Berlin

World Sales: please contact CCC-Filmkunst GmbH · Fela Brauner-Rozen Verlängerte Daumstr. 16 · D-13599 Berlin phone +49-30-3 34 20 01 · fax +49-30-3 34 04 18

Kino 1/2002 45 BELLARIA – so lange wir leben! BELLARIA – AS LONG AS WE LIVE!

There is a small, inconspicuous cinema in a small side-street in Vienna that seems to have stood still with time. A group of old Ufa film fans meet there on a regular basis, where for a few Schilling they are whisked back to their youth as though in a time machine. The documentary is a discovery trip to a place with morbid charm and portraits the colorful life stories of its comical and eccentric regular guests. Little by little, the film uncovers their true desires: to stop the wheel of time for just a few moments, to hold on to their lost youth and to spit in the face of death one more time – with a lot of heart and Viennese charm. Regular guests of Waldner) Filmproduktion/Helene Wolfsperger Vienna's Bellaria Cinema (photo © D.

Genre Art Category Documentary Cinema Douglas Wolfsperger was born in 1958 in Year of Production 2001 Director/Screen- Zurich and grew up in Friedrichshafen and play Douglas Wolfsperger Director of Photog- Constance. After freelance work at SWF and raphy Helmut Wimmer Editor Götz Schuberth WDR in Cologne, he lives and works today as a Music by Hans Jürgen Buchner/Haindling writer and director in Cologne and on Lake Producers Douglas Wolfsperger, Martin Dietrich, Constance. His films include: the features Lebe Dieter Pochlatko Production Company Douglas Kreuz und Sterbe Quer (1985), Kies Wolfsperger Filmproduktion, Cologne, in co-produc- (1986), Probefahrt ins Paradies (1992), tion with epo-Film, Vienna, in cooperation with ARTE, and Heirate mir! (1999), the shorts Die Strasbourg Principal Cast Karl Schönböck, Lady Begegnung der Jungfrau Maria mit Lips von Lipstrill, the Tenbuß Twins, Ernst Weizmann John Travolta und deren Folgen (1978), and others Length 100 min, 2900 m Format Digi- Selig sind die Toten (1981), Pelzjagd Beta Blow up 35 mm, color and b&w, 1:1.85 (1982), In dulci jubilo und so (1983), and Original Version German Subtitled Version the documentaries Leben vom Brot (1991), English Sound Technology Dolby SR Windeln, Wehen und Kaffeekannen International Festival Screenings Ophüls- (1995), Haarige Geschäfte (1996), Die Festival Saarbrücken 2002 (opening documentary), unvollständige Frau (1997), Karamba, Berlin 2002 (special presentation), Diagonale 2002 Karacho, ein Kännchen! (1998) and Die Graz With backing from Filmstiftung NRW, Film- Erben vom Prickingshof (1999). förderungsanstalt (FFA), BKM, Wiener Film Fonds, Bundeskanzleramt/Kunstsektion

AT BERLIN World Sales: peppermint gmbh · Katja Neufingerl SPECIAL PRESENTATION Rauchstr. 9-11 · D-81679 Munich phone +49-89-9 82 47 08 83 · fax +49-89-9 82 47 08 13 www.seepeppermint.com · email: [email protected]

46 Kino 1/2002 Der Brief des Kosmonauten THE COSMONAUT’S LETTER

Life itself is one of the most exciting and difficult journeys. The Cosmonaut’s Letter is the sensitive and entertaining story of Ruslan, a Russian jack-of-all-trades, and Heinrich, a 10-year-old runaway. Each of them has a dream. Heinrich wants to become a cosmonaut and does everything he can to make his wish come true. Ruslan has the equally difficult-to-realize dream of traveling to the United States with three Russian friends. The Cosmonaut’s Letter shows that the real adventure in life lies somewhere be- tween a newborn dream and its realization. Luk Piyes, Frederick Lau (photo Frederick © Kick Film) Luk Piyes,

Genre Tragicomedy Category Feature Film Vladimir Torbica was born in 1956 in Belgrade. Cinema Year of Production 2001 Director/ He studied in Belgrade and Munich and gained his Screenplay Vladimir Torbica Director of first experiences in film as an assistant director to Photography Andreas Höfer Editor Peter Fritz Umgelter, as well as to Franz-Peter Wirth, Przygodda Music by Vladimir Genin Production Hans-Werner Geissendörfer, and Cyril Frankel on Design Heidi Lüdi Producer Markus Zimmer numerous television and film productions. He as- Production Company Clasart Filmproduktion, sisted Goran Paskaljevic on the film Someone Else’s Munich Principal Cast Luk Piyes, Frederick Lau, America (1995), winner of the Jury Award at Cannes. Oliver Bässler, Katja Medvedeva Casting Risa Kes He worked with Norbert Kückelmann on Und alle Special Effects Vis.E, ARRI Digital, Munich haben geschwiegen (TV, 1996), with Christoph Kühn Studio Shooting ARRI, Munich, Filmcontract on Jack O’Lanterns (Irrlichter, TV 1998), with Gabriel Wroclaw/Poland Length 99 min, 2698 m Format Barylli on On the Wings of Love (Wer liebt, dem 35 mm, color, 1:1.85 Original Version German, wachsen Flügel, 1999), with Douglas Wolfsperger some Russian Sound Technology Dolby Digital 6K on Heirate mir! (1999), and with Michael Karen on With backing from FilmFernsehFonds Bayern, Flashback – A Murderous Vacation (Flashback – mör- Filmförderungsanstalt (FFA) German Distributor derische Ferien, 2000). Also active in documentaries, Concorde Filmverleih GmbH, Munich The Cosmonaut’s Letter is his feature film debut.

World Sales: Tele München Fernseh GmbH & Co KG Kaufingerstr. 24 · D-80331 Munich phone +49-89-29 09 30 · fax +49-89-29 09 31 09 www.telemuenchen.de

Kino 1/2002 47 Es geschah im August – Der Bau der Berliner Mauer BUILDING THE BERLIN WALL – ANATOMY OF A POLITICAL CRISIS In the night from the 12th to the 13th of August 1961, Socialist Unity Party Secretary General and President of the National Defense Council Walter Ulbricht gave the order to physically sepa- rate the different sectors of Berlin. On the morning of the 13th of August, armed border guards began ripping up the streets and barricading the area with barbed wire. A few days later, during the night from the 17th to the 18th of August, troops began replacing the barbed wire with cement blocks. Building the Berlin Wall – Anatomy of a Political Crisis portrays the bitter events surround- ing the separation and division of Berlin. Twelve years after the fall of the Wall and the opening of the archives, the film offers, in a series of historical flashbacks, a representative and suspense- filled panorama of the greatest crisis in post-war Germany and international politics. Scene from ”Building the Berlin Wall” Scene from

Genre History Category Documentary TV Ullrich Kasten was born in 1938. After studies in German and Year of Production 2001 Director Ullrich Art History, he began writing in 1962, followed by writing and direct- Kasten Screenplay Ullrich Kasten, Hans- ing for East German Television from 1965 on. In 1992, he became an Hermann Hertle Director of Photography editor for the broadcaster ORB. A selection of his films include: Wolfgang Lindig Editors Alex Görwitz, Miklós Malik – Meine Liebe (1990), John Heartfield – Er sprach Palós Music by Jürgen Ecke Production vom Wichtigsten (1990), Goebbels – Der Schirmherr Company TNM, Berlin, in co-production with (1992), Ihre Uhr ist kaputt oder die Zeit selber (1997), doculand, Hamburg Length 90 min Format Eigentlich ist nichts geschehen (1998), Mein Leben ist Digi-Beta, color and b&w, 16:9 Original so sündhaft lang: Victor Klemperer, Ein Chronist des Version German Sound Technology Stereo Jahrhunderts (1999), Ich liebe – mein Gott – ich liebe: International Festival Screenings Prix Das kurze Leben der Brigitte Reimann (1999), Über Europa Berlin 2001 den Abgrund geneigt: Leben und Sterben des Johannes R. Becher (TV, 2001), and many more.

World Sales: please contact Doculand Produktions GmbH · Dirk Hardekopf Deichstr. 25 · D-20459 Hamburg phone +49-40-3 80 81 60 · fax +49-40-38 08 16 20 www.doculand.de · email: [email protected]

48 Kino 1/2002 Der Felsen A MAP OF THE HEART

Things could hardly turn out worse for Katrin. In Corsica, her boss and lover of many years tells her that his wife is pregnant. In one abrupt instant, all hopes for a life together are dashed. Her plans for her future unraveled, her heart broken, Katrin breaks up with him. But all her attempts to start a new life simply toss her deeper into a maelstrom of aimlessness and pain. She then happens to meet Malte, an adventure-hungry young man who lives on the edge and strictly for the moment. He overwhelms her with the honesty and clarity of his feelings – and suddenly, from one minute to the next, her life becomes a dangerous tightrope walk. Antonio Wannek, Karoline Eichhorn (photo Karoline © Bavaria Film International) Antonio Wannek,

Genre Drama Category Feature Film Cinema Dominik Graf was born in 1952 in Munich. He studied Year of Production 2001 Director Dominik German and Musical Sciences, and transferred to the Academy Graf Screenplay Markus Busch, Dominik Graf of Television & Film in Munich in 1974. Parallel to his studies, Director of Photography Benedict Neuenfels Graf wrote screenplays and was involved in the production of Editor Hana Müllner Music by Dieter Schleip, various feature films. He received the Bavarian Film Award for Dominik Graf Production Design Claus Jürgen his graduation film Der kostbare Gast (1979). As a direc- Pfeiffer Producer Gloria Burkert Production tor, he played a decisive role in developing the profile of the Company MTM Medien & Television München, TV series Der Fahnder and has alternated regularly between Munich, in co-production with Kinowelt, Munich, film and TV productions. In 1988, he received a German Film Bavaria Film, Munich, in association with ZDF, Mainz Award for his thriller Die Katze. His film Spieler (1990) Principal Cast Karoline Eichhorn, Antonio was shown at Venice in 1990. His other films include: Tiger, Wannek, Sebastian Urzendowsky, Peter Lohmeyer, Löwe, Panther (1989), The Invincibles (Die Sieger, Ralph Herforth Casting An Dorthe Braker 1994), the Tatort-episode Frau Bu lacht (1995), Der Length 116 min, 3190 m Format 35 mm, color, Skorpion (1996), Doktor Knock (1996), Deine 1:1.85 Original Version German Subtitled besten Jahre (TV, 1998), Bittere Unschuld (1999), Version English Sound Technology Dolby SR Sperling und der brennende Arm (TV, 1999), the International Festival Screenings Berlin documentary Munich – Secrets of a City (München – 2002 (in competition) With backing from Geheimnisse einer Stadt, 2000) and many more. FilmFernsehFonds Bayern, Filmförderungsanstalt Critically acclaimed for his precise, intelligent and dense char- (FFA) acterizations and his extraordinary visual craft, A Map of the Heart is probably his most personal film to date.

World Sales: Bavaria Film International · Dept. of Bavaria Media GmbH AT BERLIN Michael Weber, Thorsten Schaumann Bavariafilmplatz 8 · D-82031 Geiselgasteig IN COMPETITION phone +49-89-64 99 26 86 · fax +49-89-64 99 37 20 www.bavaria-film-international.de · email: [email protected]

Kino 1/2002 49 Feuer, Eis und Dosenbier

The two friends Türlich and Josch are really proud to be the laziest community service workers around. But when they create yet another catastrophe, their boss fires them and threatens to send them off to the army. At first, they laugh about the threat, but soon enough, the military police come to get them. In an attempt to flee the army, they hide out in the orphanage where Türlich grew up. One coincidence after another leads to the realization that Türlich is in fact the great, great, great grandson of the famous ”Alm-Öhi“, well-known from the old Heidi stories and films. So the two take off for the mountains to find a wonderful world of beautiful Heidis, hot après-ski parties and lots of cold beer … and that’s just where all the wacky fun begins! Scene from ”Feuer, Eis und Dosenbier“ (photo © JAT PHOTO/OLCZYK) Eis und Dosenbier“ (photo © JAT ”Feuer, Scene from

Genre Comedy Category Feature Film Cinema Matthias Dinter was born in 1968 in Singen on Year of Production 2001 Director Matthias Lake Constance. He studied at the Film Academy Dinter Screenplay Matthias Dinter, Martin Baden-Württemberg from 1991-94, graduating with Ritzenhoff Director of Photography Stephan the film Hausschlachtung. He has written the Schuh Editor Alexander Dittner Music by Ralf screenplay for the films Rohe Ostern (TV, 1993), an Wengenmayr Production Design Peter Menne episode of the TV-series Der Fahnder – Fuß in der Tür Producers Philip Voges, Mischa Hofmann (1994), Das Biest im Bodensee I & II and First-Love – im Production Company Hofmann & Voges Schweif des Kometen (TV, 1998), Die Bademeister I, II Entertainment, Munich, in co-production with Warner and III (TV, 1999), Fußball is unser Leben (1999), Bros. Film, Hamburg Principal Cast Axel Stein, Rick Schwarz & McMurphy (TV, 1999), Was nicht passt wird Kavanian, Eva Habermann, Christoph M. Ohrt, passend gemacht and Der letzt Lude (2000), among Herbert Fux, Thorsten Feller, Andreas Elsholz others. In addition to his extensive work as a script Casting Rita Serra-Roll Special Effects CA doctor and scriptwriter, he has directed the shorts Scanline, Geiselgasteig Length 81 min, 2216 m Fleckich and Entomorhea (1992), Klabuster- Format 35 mm, color, 1:1.85 Original Version boren and Lasse rein bong! (2000). German Sound Technology Dolby Digital With backing from Filmförderungsanstalt (FFA), Filmstiftung NRW German Distributor Warner Bros. Filmproduktion GmbH, Hamburg

World Sales: please contact Hofmann & Voges Entertainment GmbH Arnulfstr. 297 · D-80639 Munich phone +49-89-17 87 70 · fax +49-89-17 87 74 10 www.hofmannvoges.com · email: [email protected]

50 Kino 1/2002 Fickende Fische DO FISH DO IT?

"What does your paradise look like, then?" - "Dark. Quiet. Wet. And full of fish." Jan likes Shakespeare, water and fish. Nina likes roller-skates, and brightly dyed hair. Jan loves Nina. Nina loves Jan, but... Do Fish Do It? is a film about first love, the problems of growing up, the vital question if fish have sex, and the threat this love is exposed to. Tino Mewes, Sophie Rogall (photoFILM/Sascha Kreklau) Tino © ICON

Genre Coming-of-Age Story, Drama, Love Story Almut Getto was born in 1964 in Kandel/Pfalz. Category Feature Film Cinema Year of Production After studies in Political Science, Communication 2001/02 Director/Screenplay Almut Getto Director of Science and Sociology in Munich, she began working Photography Andreas Höfer Editor Ingo Ehrlich Music as a television writer for various German public and by Tom Deininger, Sten Servaes Production Design Peter private broadcasters. In 1995, she began studying Film Menne Producer Herbert Schwering Production & Television at the Academy of Media Arts KHM Company ICON FILM, Cologne, in co-production with in Cologne, graduating with the film Spots & WDR, Cologne Principal Cast Sophie Rogall, Tino Mewes, Stripes (1998/99), which won the Special Jury Prizes Annette Uhlen, Hans-Martin Stier, Ferdinand Dux, Angelika at St. Petersburg and Giffoni, the Audience Award Milster, Jürgen Tonkel, Uwe Rohde, Ellen ten Damme and Short Cuts at Cologne and the Best Family Prize at others Casting Agentur Maria Schwarz, Cologne, Susanne Seoul. Her other films include Marlis Goes to Ritter, Cologne, Eick & Eick, Bottrop-Kirchhellen Special Rock (short, 1996), I Don’t Like the Sun Effects anima res, Bonn, Plan_b media, Cologne Length Anymore (Mit der Sonne habe ich es eh 104 min, 2818 m Format 35 mm, color, 1:1.85 Original nicht, short, 1996), as well numerous television Version German Subtitled Version English Sound essays and reports. Technology Dolby Digital International Festival Screenings Ophüls-Festival Saarbrücken 2002 (in competi- tion), Berlin 2002 (Perspective German Cinema) With backing from BKM, Kuratorium junger deutscher Film, Filmstiftung NRW German Distributor ottfilm GmbH, Berlin AT BERLIN

PERSPECTIVE GERMAN CINEMA World Sales: ottfilm GmbH · Christoph Ott Kurfürstendamm 175-176 · D-10707 Berlin phone +49-30-88 71 88 80 · fax +49-30-8 87 18 88 99 www.fickende-fische.de · www.ottfilm.de · email: [email protected]

Kino 1/2002 51 Germanikus

It is the 3rd century A.D. A lazy swamp-Germanian named Hermann finds himself suddenly captured by Roman slave hunters. Dragged off to Rome, he is sold to Tusnelda. An ex-Germanian herself, she is the rich proprietress of a training school for gladiators. She mistakenly sees in Hermann the new star in the colosseum, and a likely husband for herself. Stressed by Tusnelda’s womanly advances, Hermann, now re-named by Tusnelda as ”Germanikus“, flees from his captor, but lands in the imperial court in a very risky job: he’s the official Royal Taster for the Emperor. When the Emperor ”mysteriously“ dies, Germanikus is the prime suspect. Once again on the run, this time he is caught and condemned to certain death – in the colosseum! With the help of a slave-girl named Saba, he wins in single combat with a tiger, is declared the new Emperor against his will, and as such, brings about the fall of the Roman Empire! He has to flee again, now back home to mama! But with Saba as his empress, a whole new set of pros- pects awaits him in Germania … Scene from ”Germanikus“ (photo © Constantin Film Verleih GmbH) ”Germanikus“ Scene from (photo © Constantin Film Verleih

Genre Comedy, History Category Feature Film Cinema Hanns Christian Müller was born in 1949 Year of Production 2001 Director Hanns Christian in Munich. He has worked in various theaters, Müller Screenplay Gerhard Polt, Franco Ferrini, Hans Weth, including the Münchner Kammerspiele, since and Hanns Christian Müller Director of Photography 1974. He began working in television in 1978 Fred Schuler Editor Gerd Berner Music by Wolfgang and moved into cinema with the cult-films Hammerschmid Production Design Tonio Zera, Eleonora Kehraus (1983) and man spricht deutsh Ponzoni, Daniela Voccia Producer Hans Weth Production (1987). His other films include: Longer Company Vision Film, Munich, in co-production with BA- Saturday (Langer Samstag, 1992), the Film, Munich Principal Cast Gerhard Polt, Gisela Schnee- Tatort-episode … und die Musi spielt berger, Rufus Beck, Sylviane Aissatou Thiam, Nadja Rinaldi and dazu (TV, 1994), and Willkommen in Tom Gerhard, as well as Moritz Bleibtreu as the Emperor Kronstadt (TV, 1996). ”Titus“ Casting Shaila Rubin, Gaby Auer Special Effects Fredy Unger, ARRI Digital, Munich Studio Shooting Cinecittá, Rome Length 87 min, 2380 m Format 35 mm, color, 1:1.85 Original Version German Sound Tech- nology Dolby Digital With backing from FilmFernseh- Fonds Bayern, Filmförderungsanstalt (FFA), BKM German Distributor Constantin Film Verleih GmbH, Munich

World Sales: Vision Film GmbH · Hans Weth Kurfürstenplatz 4 · D-80796 Munich phone +49-89-39 00 29· fax +49-89-39 55 69 email: [email protected]

52 Kino 1/2002 Die grüne Wolke THE LAST MAN ALIVE

Based on A.S. Neill’s best-selling novel of the same name, The Last Man Alive is a delightful romp between fantasy and reality. Set in a small and cozy boarding school nestled in the woods, the story begins when a group of eight children gather around their favorite teacher, Professor Birnenstiel. A colorful storyteller, Birnenstiel launches into an incredible tale in which he and the children are the protagonists. Their fantasy adventures take them into outer space, from where they see a green cloud envelop the earth. Upon their return, they dis- cover that all human beings have been turned into stone. Along with a good-natured billionaire and a ditsy French beauty queen, they stumble from one adventure to another. Whether fleeing from killer tomatoes or from black-and-white TV characters who suddenly emerge from the tele- vision screen, the children and their adult friends tackle one predicament after the next with energy, cleverness and solidarity. Or at least that’s how the ”real life“ children would like to have it! Whenever Professor Birnenstiel fails to make his characters heroic enough, the children chime in and demand a change in the story. In Birnenstiel’s tale, he himself is supposed to be the ”last man alive“. But will the children agree to be simply eliminated from the story? Scene from ”The Last Man Alive“Scene from (photoGruber) © Marcus

Genre Children’s Film, Fantasy/Science Fiction Category Claus Strigel was born in 1955 in Munich. Feature Film Cinema Year of Production 2001 Before finally changing to filmmaking as a Director Claus Strigel Screenplay Claus Strigel, Martin producer, writer and director, he studied Östreicher, based on the novel by A.S. Neill Director of Communications and Psychology. Since 1976, Photography Sönke Hansen Editor Uwe Klimmeck he has co-directed and written together with Music by Wolfgang Neumann Production Design Bertram Verhaag over 50 award-winning Yvonne Kurth Producers Bertram Verhaag, Bernd Vorjans documentaries and feature films including: Production Company DENKmal Film, Munich, in co- Was heißt’n hier Liebe (1978), Too production with Tellux, Dresden, Octopus Media, Berlin, Much Man! (echt tu matsch, 1983), Constantin Film, Munich Principal Cast Jan-Gerd Buss, Nuclear Split (Spaltprozesse, docu- Heinz Werner Kraehkamp, Jule Ronstedt, Jana v. Klier, Patrick mentary, 1987), An Act of God McGehee Special Effects Tyron Montgomery Length (Restrisiko oder die Arroganz der 97 min, 2654 m Format 35 mm, color, 1:1.85 Original Macht, documentary, 1989), The Eighth Version German Subtitled Version English Sound Commandment (Das Achte Technology Dolby SR International Festival Gebot, documentary, 1990), Runaway Screenings Gera 2001 With backing from Mittel- (1992), Blue Eyed (documentary, 1996), deutsche Medienförderung, FilmFernsehFonds Bayern, BKM, Grenzgänger – Hans-Peter Dürr (TV, Filmboard Berlin-Brandenburg, FilmFörderung Hamburg, 1997), Der Agrarrebell (TV, 2000), Tote Kuratorium junger deutscher Film, MEDIA II German Ernte (TV, 2001), Al Barnum (TV, 2001), Distributor Constantin Film Verleih GmbH, Munich and many more.

World Sales: Bavaria Media Television · Carlos Hertel Bavariafilmplatz 8 · D-82031 Geiselgasteig phone +49-89-64 99 36 66 · fax +49-89-64 99 22 40 email: [email protected]

Kino 1/2002 53 Halbe Treppe GRILL POINT

The people: two friendly couples in their late thirties; the place: the not exactly happening city of Frankfurt/Oder, . They’re set in their ways, with nowhere to go … Radio host Chris and his second wife Katrin don’t have much to say to each other anymore, in or out of bed. Uwe, his friend, slaves away day and night in his own hot-dog stand, but forgets his wife and kids. Small surprise, then, that Ellen and Chris - who is urgently looking for change – come closer. But they’re caught in the act, and as a consequence everyone is shaken from their stupor. Their bogged-down existence gets a jump-start, they question their position in life, and suddenly it becomes clear that small miracles are possible even in a place like Frankfurt/Oder – if only you believe in them! Thorsten Merten, Gabriela Maria Schmeide (photo © Bavaria Film International)

Genre Drama Category Feature Film Cinema Andreas Dresen was born in Gera in 1963. He was Year of Production 2001 Director/Screenplay an intern at the DEFA Feature Film Studio from 1985-86 Andreas Dresen Director of Photography Michael and studied at the ”Konrad Wolf“ Academy of Film & Hammon Editor Jörg Hauschild Music by 17 Hippies Television in Babelsberg from 1986-1992. His first fea- Production Design Susanne Hopf Producer Peter ture Stilles Land (1992) was awarded the Hesse Film Rommel Production Company Peter Rommel Prize and the German Critics’ Award in 1992. He directed Productions, Berlin Principal Cast Steffi Kühnert, Goethe’s Urfaust at the Staatstheater in Cottbus in 1996 Gabriela Maria Schmeide, Axel Prahl, Thorsten Merten and made his second feature Night Shapes (Nacht- Length 105 min, 2888 m Format 35 mm, color, gestalten) in 1998, which won the German Film Award 1:1.85 Original Version German Subtitled in Silver in 1999 and the Pilar Miró Award for the Best Version English Sound Technology Dolby SR New Director at Valladolid in 1999. His other films in- International Festival Screenings Berlin 2002 clude: Der kleine Clown (short, 1985), Schritte (in competition) With backing from Filmboard des anderen (short, 1986/87), Jenseits von Berlin-Brandenburg, BKM Klein-Wanzleben (documentary, 1989), Zug in die Ferne (short, 1989/90), Mein unbekannter Ehemann (1995), Raus aus der Haut (TV, 1997) and The Policewoman (Die Polizistin, 2000).

World Sales: AT BERLIN Bavaria Film International · Dept. of Bavaria Media GmbH IN COMPETITION Michael Weber, Thorsten Schaumann Bavariafilmplatz 8 · D-82031 Geiselgasteig phone +49-89-64 99 26 86 · fax +49-89-64 99 37 20 www.bavaria-film-international.de · email: [email protected]

54 Kino 1/2002 Heaven

Turin. Four innocent people fall victim to an assassination. The English teacher Philippa is arrested. She doesn’t deny anything – and is shattered. She had a different goal, namely a drug dealer re- sponsible for the death of her husband and four of her pupils. The police however insist that there was a political motive. Only a young rookie policeman believes her, for he secretly thinks that they were meant for one another. But he must prove his love to her, unconditionally … Giovanni Ribisi, Cate Blanchett (photo © X Filme Creative Pool GmbH) Giovanni Ribisi, Cate Blanchett (photo © X Filme Creative Pool

Genre Drama, Love Story, Thriller Category Tom Tykwer was born in Wuppertal in 1965. He Feature Film Cinema Year of Production 2001 worked on various productions as a production assistant, Director Tom Tykwer Screenplay Krzysztof script reader and assistant director. His first feature Kieslowski Director of Photography Frank Deadly Maria (Die tödliche Maria, 1993) was Griebe Editor Mathilde Bonnefoy Music by Arvo named Best Film by the German Film Critics’ Association Pärt Production Design Uli Hanisch Producers in 1994, and won the Eastman Promotional Award at Hof Anthony Minghella, Maria Köpf, William Horberg, and the Bavarian Film Award for Best Newcomer/ Stefan Arndt, Frédérique Dumas Production Direction. He was also co-author on Wolfgang Becker’s Companies X-Filme Creative Pool, Berlin, Miramax 1997 Berlinale competition entry (Das Films, New York Principal Cast Cate Blanchett, Leben ist eine Baustelle). In 1998, Tykwer was awarded a Giovanni Ribisi Casting Shaila Rubin Special German Film Award in Silver in the category Best Feature Effects Buff Compagnie, Paris Studio Shooting Film for Wintersleepers (Winterschläfer, 1997). Warner Studios, Bottrop Length 95 min, 2599 m His film (Lola rennt, 1998) won two Format 35 mm, color, 1:1.85 Original Version German Film Awards in Gold in 1999 for Best Director English/Italian Subtitled Version German Sound and Best Feature Film, and was submitted as the German Technology Dolby SRD International Festival entry for the 1999 Foreign Language OSCAR. His other Screenings Berlin 2002 (opening film, in competition) films include: Because (short, 1990), Epilog (short, With backing from Filmstiftung NRW, Film- 1991) and The Princess and the Warrior (Der förderungsanstalt (FFA), Filmboard Berlin-Brandenburg Krieger und die Kaiserin, 2000). German Distributor X Verleih AG, Berlin

AT BERLIN

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Kino 1/2002 55 Herz

“Tropical Dive” is the name of a small diving school in a suburb of Cologne. A group of friends meets there on a regular basis to forget their day-to-day troubles in the weightlessness of the underwater world. Cem’s heart beats for Lale, who is standing trial. Georg is having trouble coming to grips with the fact that his wife Gisela is losing interest in him. Martin the doctor can’t get the fragile Natalie, who is in his care after a suicide attempt, out of his mind. And then there’s Marlis, who betrays Günther with the diving instructor Marcel … Scene from ”Herz“ (photo Scene from © Bavaria Film International)

Genre Drama Category Feature Film Horst J. Sczerba was born in Krefeld and Cinema Year of Production 2001 studied Medicine and worked as a doctor for Director/Screenplay Horst J. Sczerba many years before he turned to radio, film and Director of Photography Carl-Friedrich television. In 1991, he wrote his first screenplay Koschnick Editor Marcel Peragine Music by for the Tatort-episode Blutwurstwalzer, directed Dirk Rauf Production Design Volker by Wolfgang Becker. A year later, he and Becker Schläfer Producers Manuela Stehr, Stefan edited the screenplay into the award-winning Arndt Production Company X-Filme, television film Kinderspiele (1992), followed Berlin Principal Cast Florian Fitz, Martin by his highly-acclaimed directorial debut Die Roll, Mehmet Kurtulus, Pamel Knaak, Uwe Schamlosen (1994), with Jürgen Vogel and Bohm Casting Anja Dihrberg, Dirk Fehrecke Meret Becker in the leading roles. His other films Special Effects Das Werk, Dirk Burrekoven include: Eine unmögliche Hochzeit Length 100 min, 2750 m Format 35 mm, (1996), Die Unschuld der Krähen (1997) color, cs Original Version German – winner of the German Television Award, and the Subtitled Version English Sound road movie Halt mich fest (TV, 1999). Technology Dolby SR With backing from Filmstiftung NRW German Distributor X Verleih AG, Berlin

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

56 Kino 1/2002 Hilfe, ich bin ein Junge! HELP, I’M A BOY!

Eleven-year-old Emma doesn’t have it easy. Her mother expects her to always outperform the others, her classmates think she’s pushy, and her mean swim coach wants to make an Olympic swimmer out of her, no matter what. After being harassed yet again by her schoolmate Mickey, Emma wants nothing more than to become a different person. As though by magic, her wish is fulfilled – but not exactly as she wanted: Emma turns into Mickey. And somewhere on the other side of town, Mickey turns into Emma... Sarah Hannemann, Nick Seidensticker (photoGmbH) Sarah Hannemann, Nick Seidensticker © Studio Hamburg Produktion

Genre Children’s Film, Family Category Feature Film Oliver Dommenget was born in 1966 in Berlin. Cinema Year of Production 2001 Director Oliver After internships at Studio Hamburg and in the Dommenget Screenplay Astrid Ströher Director of Kamerawerkstatt Theo Rose, he served as a camera Photography Georgij Pestov Editor Monika Schuchard assistant for various film and television productions. Music by Jens Langbein, Robert Schulte Hemming Since 1991, he has been a freelance cameraman and Production Design Sonja Strömer Producer Dirk R. director of numerous music videos and advertise- Düwel Production Company Studio Hamburg Produktion, ments. In 1997, he began writing his own scripts and Hamburg, in co-production with NDR, Hamburg, BR, Munich, making short films, followed by Film Studies at the VCC Perfect Pictures, Hamburg Principal Cast Sarah University of Hamburg from 1998-2000. His films Hannemann, Nick Seidensticker, Philipp Blank, Pinkas Braun, include: the shorts November (1997), Zug- Nina Petri, Dominique Horwitz Casting Studio Hamburg, roulette (1998), Verrat (1999) – winner of the Kaija Helweg Special Effects VCC Perfect Pictures, German Film School Award in Bronze, Martas Hamburg Length 90 min, 1029 m Format Super 16 mm Töchter (1999), 3 Tage 44 (2000) – winner of Blow up 35 mm, color, 1:1.85 Original Version German the Studio Hamburg Promotion Prize, and Sound Technology Optical sound International the feature Wilder Hafen Ehe (2000). Festival Screenings Berlin 2002 (Children’s Film Fest) With backing from BKM, FilmFörderung Hamburg, Kuratorium junger deutscher Film German Distributor MFA Münchner Film Agentur, Munich AT B E R L I N

CHILDREN’S FILM FEST

World Sales: CINEPOOL – Dept. of Telepool Europäisches Fernsehprogrammkontor GmbH Dr. Cathy Rohnke, Wolfram Skowronnek Sonnenstr. 21 · D-80331 Munich phone +49-89-55 87 60 · fax +49-89-55 87 61 88 www.telepool.de · email: [email protected], [email protected]

Kino 1/2002 57 Die Hoffnung stirbt zuletzt FINAL HOPE

The 25-year-old Corinna Safranski wants to become a policewoman. After two years of training, she starts her new job in Hamburg with great enthusiasm and turns her back on her small hometown and her boyfriend Max, who is just as much against her new profession as her parents are. The shift work is hard but Corinna gives it her best and doesn’t want to lose face in front of her boss, Eddy Garbitsch. But when Garbitsch comes a bit too close one day, her situation with him and her col- leagues becomes critical. And on top of it all, she finds out that her best friend Tanja is pregnant from Max. Garbitsch’s insulted ego brings him into a vicious circle of harassment toward Corinna. Although she manages to keep her cool, she doesn’t have a chance among her colleagues. Jens is the only one to tries to keep Garbitsch off her back, but his help comes too late. In her desperation, her only way out is to take her own life. Anneke Kim Sarnau Anneke (photoTimpen) © NDR/Gordon

Genre Drama Category TV-movie (fiction) Marc Rothemund began working as an assistant Year of Production 2001 Director Marc director in 1990 on commercials for such directors as Rothemund Screenplay Fred Breinersdorfer Gabriel Barylli, Nikolai Karo and Helmut Dietl as well Director of Photography Martin Langer as on TV productions as varied as Bernd Eichinger’s Das Editor Hans Funck Production Design Isolde Mädchen Rosemarie, Vivian Naefe’s Nervenkrieg and Rüter Producer Sven Burgemeister Production Dominik Graf ’s Sperling. In 1995, he served as the Company TV60 Film, Munich, in cooperation with German assistant director for Gérard Corbiau’s OSCAR- NDR, Hamburg Principal Cast Anneke Kim nominated Farinelli and followed this a year later with Sarnau, Axel Prahl, Wotan Wilke Möhring, Barbara Dietl’s Rossini. He then made his directorial debut with Philipp, Frank Sieckel Casting Lore Blössl, Walter SAT.1’s Wilde Jungs and two episodes of the ZDF Speidel Length 89 min, 2435 m Format Super series Anwalt Abel. His first film as a director for the 16 mm Blow up 35 mm, color, 1:1.78 Original cinema was Love Scenes from Planet Earth (Das Version German Subtitled Version English merkwürdige Verhalten geschlechtsreifer Sound Technology Dolby Stereo Großstädter zur Paarungszeit, 1998) followed by International Festival Screenings Hof 2001, Just The Two Of Us (Harte Jungs) in 1999. Berlin 2002 (German Cinema) German Distributor NDR International, Hamburg

AT BERLIN GERMAN CINEMA World Sales: NDR International · Doris Heinze Hugh-Green-Weg 1 · D-22529 Hamburg phone +49-40-41 56 57 81 · fax +49-40-41 56 64 48

58 Kino 1/2002 Hundsköpfe DOG HEADS

The Dog Heads are four old army friends whose job it is to search farmland for buried mines and munitions. They use their detectors to locate and then uncover not just the tools of death and injury but also their own past. Sylvia is worried about her husband, Christoph, who has taken a dangerous job. He hasn’t seen his old pals in years, not since their time together as border guards. Now he wants to go mine hunting with them. Stefan, Konrad and Mirko are ready to go. But the Dog Heads are not complete – Alexander is missing. Once the love of Sylvia’s life, he drowned trying to swim the Elbe River from East Germany to the West. But the mysterious circumstances surrounding Alexander’s death have never really been clarified, nor forgotten. Suspicious of the friends’ reunion, Sylvia investigates the past and stumbles upon contradictions indicat- ing that perhaps Alexander’s death was no accident at all... Esther Esche (photo © Jost Hering Film)

Genre Art, Drama, History Category Feature Karsten Laske was born in 1965 in Brandenburg. Film Cinema Year of Production 2001 He studied Acting at the Ernst Busch Academy in Director/Screenplay Karsten Laske Director Berlin from 1986-1990, followed by an engagement of Photography The Chau Ngo Editor at the Mecklenburg State Theater from 1990-94. Cölestine Brandt Music by Paul Wuthe, Jens Since then, he has been a freelance actor, writer and Meyer Production Design Jörg Landgraf director. From 1997-98, he worked in the Directing Producer Jost Hering Production Company Department of the ”Konrad Wolf“ Academy of Film Propeller 7 Film, Bergfelde, in co-production with & Television. He wrote the screenplays for the films Koppfilm, Potsdam Principal Cast Arnd Der sanfte Killer, Pelikan, Mogadishu, Apokalypse 1999, Klawitter, Simon Werner, Esther Esche, Axel Prahl, Der Virtuose and Sturmwarnung, and directed and Marko Bräutigam Length 90 min, 2565 m wrote the screenplays for Stille Wasser (1992) Format Super 16 mm Blow up 35 mm, color, and Edgar (1996). 1:1.85 Original Version German Subtitled Version English Sound Technology Dolby Stereo

World Sales: please contact Jost Hering Filmproduktion · Jost Hering Winterfeldtstr. 31 · D-10781 Berlin phone +49-30-21 75 68 56 · fax +49-30-21 75 68 58 www.josthering.de · email: [email protected]

Kino 1/2002 59 Jochen – Ein Golzower aus Philadelphia JOCHEN – A GOLZOWER FROM PHILADELPHIA

Jochen – A Golzower from Philadelphia is the seventeenth film of the Golzow-series. The son of an agri- culture functionary, Jochen, who only attended school in Golzow for one year, allows glimpses into his personal life. He helped to establish the socialist order in Philadelphia, then in Golzow and last in Bernau near Berlin. The heavyweight with a special sense for practical things became a milker, was a border soldier, got married and lives with his wife and three children in Bernau. Just as disappointed with the German Democratic Republic then as well as its demise, he wants to have nothing to do with politics anymore. Scene from ”Jochen – A Golzower from Philadelphia“ (photo from © Winfried Junge) ”Jochen – A Golzower Scene from

Genre Biopic, History Category Docu- Barbara Junge was born in 1943 in Neunhofen and studied English and Russian mentary Cinema Year of Production 2001 at the University of Leipzig. From 1969, she worked in the DEFA studios for docu- Directors/Screenplay Barbara & Winfried mentary films. In 1978, she began the editorial supervision of the Golzow-series. Junge, based on an idea from Karl Gass Since 1983, she has edited all of Winfried Junge’s films and began co-directing with Directors of Photography Hans-Eberhard him in 1992. Winfried Junge was born in 1935 in Berlin. After studies in Leupold, Harald Klix Editor Barbara Junge German at the Humboldt University in Berlin, he transferred to the German Film Music by Gerhard Rosenfeld Producer Academy in Potsdam-Babelsberg in 1954. Graduating in 1958, he began work at the Klaus-Dieter Schmutzer Production DEFA studios. His films include: When I Finally Go to School (Wenn ich Company à jour Film- und Fernsehproduktion, erst zur Schule geh’, 1961), Observations in a First Class (Nach Berlin, in cooperation with ORB, Potsdam, DEFA einem Jahr, 1962), Eleven Years Old (Elf Jahre alt, 1966), Anmut spa- Foundation, Berlin Length 119 min, 3415 m ret nicht noch Mühe (1979), Lebensläufe – Die Geschichte der Format 35 mm, color/b&w, 1:1.37 Original Kinder von Golzow in einzelnen Portraits (1980) – winner of the FIPRES- Version German Subtitled Version English CI Award Berlin, Diese Golzower – Umstandsbestimmung eines Ortes Sound Technology Dolby SR Inter- (1984), Drehbuch: Die Zeiten (1992), The Life of Jürgen from national Festival Screenings Berlin 2002 Golzow (Das Leben des Jürgens von Golzow, 1994), The Story of (Forum) With backing from BKM, Branden- Uncle Willy from Golzow (Die Geschichte des Onkel Willy aus burg Ministry of Science, Research & Culture, Golzow, 1995), Was geht euch mein Leben an, Elke (1996), Da habt Ostdeutsche Sparkassenstiftung, Sparkasse ihr mein Leben, Marieluise (1997), Brigitte & Marcel (1998), A Guy Märkisch-Oderland German Distributor Like Dieter – Native of Golzow (Ein Mensch wie Dieter – Progress Film-Verleih GmbH, Berlin Golzower, 1999), and many more. Jochen – A Golzower from Philadelphia is the eighth Golzow film to participate in the Berlinale Forum.

World Sales: Progress Film-Verleih GmbH · Christel Jansen Burgstr. 27 · D-10178 Berlin AT BERLIN phone +49-30-24 00 32 25 · fax +49-30-24 00 32 99 FORUM www.progress-film.de · email: [email protected]

60 Kino 1/2002 Klassenfahrt SCHOOL TRIP

A school class takes a trip to the Polish Baltic Sea coast. The holiday resort isn’t exactly what the kids would call exciting, especially since it is off-season. Between table tennis matches, day trips and alcohol excesses, a cautious relationship develops between the 16-year-old Ronny and his fellow student Isa. At a disco one night, they meet a Polish boy named Marek. After spending a lot of time together, Ronny notices that Marek is more interested in Isa than he is in him. Ronny starts to challenge Marek, until his provocations end in a test of will with tragic consequences. Sophie Kempe, Steven Sperling (photo © Michael Weber) Sophie Kempe,

Genre Drama Category Feature Film Cinema Year Henner Winckler was born in 1969 in Giessen. of Production 2002 Director Henner Winckler He studied at the Academy of Art & Design in Screenplay Henner Winckler, Stefan Kriekhaus Offenbach from 1990-93, followed by studies in Director of Photography Janne Busse Editor Visual Communication and Film at the Academy of Bettina Böhler Music by Cem Oral Production Fine Arts in Hamburg from 1994-98. Active in script- Design Marcel Schörken Producers Florian Koerner writing and behind the camera, he has also directed von Gustorf, Michael Weber Production Company the shorts Lust (1995) and Tip Top (1998). Schramm Film, Berlin, in co-production with ZDF, Mainz Principal Cast Steven Sperling, Sophie Kempe, Bartek Blaszczyk Special Effects Mike Bols Length 86 min, 2353 m Format Super 16 mm Blow up 35 mm, color, 1:1.85 Original Version German Subtitled Version English Sound Technology Dolby SR International Festival Screenings Berlin 2002 (Forum) With backing from Filmboard Berlin- Brandenburg German Distributor Peripher Filmverleih GmbH, Berlin

AT BERLIN World Sales: please contact FORUM Schramm Film Koerner + Weber Florian Koerner von Gustorf, Michael Weber Bülowstr. 90 · D-10783 Berlin phone +49-30-2 61 51 40 · fax +49-30-2 61 51 39 email: [email protected]

Kino 1/2002 61 Knallharte Jungs MORE ANTS IN THE PANTS

Florian is only weeks away from graduation. He also happens to be in a lot of trouble. His growing attraction towards the opposite sex keeps getting him into the most horrifyingly embarrassing situations imaginable to male-kind and he seems unable to resist. What makes matters worse is that Flo has fallen in love with Maja, the most amazing girl walking the face of the earth, but also one to whom Flo would be virtually invisible if it wasn’t for her witnes- sing several of his failed attempts at seducing the girls (or teachers) at school. After the school administration forces him into a session with a very attractive female sex therapist, Flo seeks the help of his friends Red Bull, Dirk and Schumi. They analyze Flo’s situation, but Schumi and Dirk see no hope at all for their friend to ever succeed in seducing the beautiful Maja. Red Bull, on the other hand, pushes them into a bet. For the girl of his dreams, Flo is ready to embark onto every adventure imaginable … Diana Amft, Tobias Schenke (photo © Constantin Film Verleih GmbH) (photo Schenke © Constantin Film Verleih Diana Amft, Tobias

Genre Comedy Category Feature Film Cinema Granz Henman studied Creative Writing and Year of Production 2001 Director/Screen- English Literature at New York University (NYU) play Granz Henman Director of Photography and Trinity College in Dublin. He received the Gernot Roll Editor Ueli Christen Production Gregory Peck Scholarship from NYU and the Design Christoph Simons Producer Bernd University College of Dublin to participate in a Eichinger Production Company Constantin Film Scriptwriting seminar in Ireland. In 1994, he com- Produktion, Munich Principal Cast Tobias pleted an internship in the advertising depart- Schenke, Axel Stein, Diana Amft, Rebecca ment of Universal Pictures, followed by work as Mosselman, Tom Lass, Nicky Kantor Casting Rita a production assistant on Christine Vachon and Serra-Roll Special Effects CA Scanline, Gus Van Sant’s Kids. In 1995, he began writing Geiselgasteig Studio Shooting Bavaria Studios, screenplays for such films as A Dublin Fairy Tale, Geiselgasteig Length 92 min, 2524 m Format Venus Bound, and Marc Rothemund’s Ants in the 35 mm, color, 1:1.85 Original Version German Pants (Harte Jungs, 1999). He had his directorial Dubbed Version English Sound Technology debut with the short Mr. Preble Gets Rid Dolby SRD With backing from FilmFernseh- of His Wife in 1997, followed by co-direction Fonds Bayern, Bayerischer Bankenfonds, Film- with Til Schweiger on The Polar Bear (Der förderungsanstalt (FFA) German Distributor Eisbär, 1998). Constantin Film Verleih GmbH, Munich

World Sales: Atlas International Film GmbH · Dieter Menz, Stefan Menz, Christl Blum Rumfordstr. 29-31 · D-80469 Munich phone +49-89-2 10 97 50 · fax +49-89-22 43 32 www.atlasfilm.com · email: [email protected]

62 Kino 1/2002 Königskinder

During holidays on the North Sea coast, Dole meets Hermann and they become very close friends. But this is no ordinary friendship. Dole is eleven years old and Hermann is more than thirty years her senior, married, with children. Back home, both live near Mannheim, they see each other quite often. One day though, Dole’s mother decides to move to France, but Dole has her own ideas. A short while later Hermann answers a knock at the door to find Dole standing on his front step – she’s decided to run away with him – and he goes with her. Pursued by Dole’s mother and Hermann’s wife, their journey becomes a wild goose chase and brings them full circle, ending where it all began, at the coast. But since their first encounter, a few things have changed: Dole has grown up, Hermann hasn’t. Henriette Confurius (photo © Jost Hering Film)

Genre Coming-of-Age Story, Drama Category Anne Wild was born in 1967 in Offenburg. She stud- Feature Film Cinema Year of Production 2001 ied German Literature, Philosophy and Art History at Director/Screenplay Anne Wild Director of the University of Freiburg from 1986-88, followed by Photography Wojciech Szepel Editor Dagmar Acting studies from 1988-92 at the Academy of Music Lichius Music by Maurus Ronner Production and Applied Arts in Stuttgart. In 1994, she worked in Design Martina Brünner Producer Jost Hering New York as a production assistant for advertisements, Production Company Jost Hering Film, Berlin music videos and feature films. She has also done text Principal Cast Juliane Köhler, Leonard Lansink, writing for advertising agencies in Hamburg and Berlin, Henriette Confurius, Gabriela Maria Schmeide and has participated in numerous screenplay seminars Casting Andrew Hood Length 90 min, 2565 m including the Master School Seminar with Don Bohlinger Format Super 16 mm Blow up 35 mm, color, and the éQuinoxe Program, as well as the European Film 1:1.66 Original Version German Subtitled Academy’s directing seminar ”Ways of Seeing Actors“ Version English Sound Technology Dolby Stereo and many more. Since 1997, she has been working as a With backing from MFG Baden-Württemberg, freelance journalist for various newspapers, radio and Filmboard Berlin-Brandenburg, Kuratorium junger television stations. In 1999, together with Stefan deutscher Film, Filmförderung Mecklenburg-Vor- Dähnert, she received the first Baden-Württemberg Script pommern German Distributor Movie Net Film Prize for What to do in case of fire? (Was tun, wenn’s GmbH, Munich brennt, 2001). Her other films include Nachmittag in Siedlisko (2000) and Ballett ist ausgefallen (2001).

World Sales: please contact Jost Hering Filmproduktion · Jost Hering Winterfeldtstr. 31 · D-10781 Berlin phone +49-30-21 75 68 56 · fax +49-30-21 75 68 58 www.josthering.de · email: [email protected]

Kino 1/2002 63 Der Mann von nebenan THE MAN NEXT DOOR

Kate Moor and her son move away from the city, out into the country to make a new start of things. The former athlete left her husband and built up an existence for herself making wooden flutes. Her new neighbors are the at first very helpful pensioner Willi and his myste- rious wife Gudrun, the strange Malise and her son Simon, the pretty, young Rita, who has a somewhat bizarre past, and the single Inge, who lives with her deranged father. Kate learns about all these circumstances because the rest of the community forms a pact against the bullying Willi. Kate becomes the main victim of his voyeurism, his advances and the life- threatening situations he brings her and her son into. Then Inge's father is found dead at a construction site. Finally the rest of the group win over Kate’s support and together work out a plot to bring Willi's bullying to an end. Scene from ”The Man Next Door“ (photo Scene from © TV60 Film)

Genre Comedy Category TV-movie (fiction) Dror Zahavi studied Directing at the ”Konrad Wolf“ Year of Production 2001 Director Dror Zahavi Academy of Film and Television in Potsdam and gra- Screenplay Peter Probst, based on the novel by duated in 1988 with the film Alexander Penn – Amelie Fried Director of Photography Martin Ich will sein in allem, which was nominated for Kukula Editor Fritz Busse Music by Paul Vincent the Student OSCAR in the same year. His other films Gunia, Oliver Gunia Production Design Andrea include: Der Besucher (TV, 1992), the three Douglas Producer Sven Burgemeister Production Männer von K3 episodes Kurz nach Mitternacht Company TV60 Film, Munich, in cooperation with (1995), Blutsverwandschaft (1997) and Liebes- SAT.1, Berlin Principal Cast Lisa Martinek, Axel test (1998), the Doppelter Einsatz episodes Der Milberg, Andrea Sawatzki, Barbara Magdalena Ahren, Mörder mit der Maske (1997) and Die Eva Hassmann, Stephan Kampwirth, Clemens Jakubetz Todesfreundin (1998) – which won both the Casting Lore Blössl Special Effects Pitt Effects, German Television Award and the Bavarian Television Pitt Rotter Length 100 min, 1097 m Format Super Award for Best Direction in 1999, as well as Mallorca 16 mm, color, 1:1.78 Original Version German – für eine Nacht (TV, 1999), Die Salsa- With backing from FilmFernsehFonds Bayern prinzessin (TV, 2000), and many more.

World Sales: please contact TV60 Film · Sven Burgemeister, Bernd Burgemeister Wiltrudenstr. 5 · D-80805 Munich phone +49-89-3 60 49 10 · fax +49-89-36 04 91 30 email: [email protected]

64 Kino 1/2002 Missing Allen – Wo ist Allen Ross? MISSING ALLEN - THE MAN WHO BECAME A CAMERA

Missing Allen is a detective film: a filmmaker sets off in search of his cameraman and friend who disappeared without a trace after shooting a film with him in autumn 1995. The investigation begins in Chicago’s art scene but soon leaves this sheltered world, following a trail to cultural backwater, to sects and people who believe in UFOs: to Waco, and Oklahoma City, to the traumatic sites of recent American history. Christian Bauer and Allen Ross, Chicago 1991 (photo Christian Bauer and Allen Ross, © Tangram)

Genre Thriller Category Documentary Cinema Christian Bauer was born in 1947 in Wartaweil/Germany. Year of Production 2001 Director/Screen- He studied German and English Literature, American Affairs and play Christian Bauer Director of Photography History and taught at the University of Munich. He then started a Michael Gööck Editor Julia Furch Music by Titus second career and wrote film reviews for major German newspa- Vollmer Producer Christian Bauer Production pers. An independent filmmaker and producer since 1980, he has Company Tangram Film, Munich, in cooperation directed more than fifty documentaries. In 1993, he was awarded with BR, Munich, SR, Saarbrücken, ARTE, Strasbourg the Adolf Grimme Award for his film on the last days of an Length 92 min, 2517 m Format Betacam SP American army garrison in Bavaria, The Yankees Go Home Blow up 35 mm, color, 1:1.66 Original Version (1992). His other films include: Farewell Celluloid (TV, 1983), English Subtitled Version German Sound Déjà Vu (TV, 1984), Night Without Morning (TV, 1985), Technology Dolby SR International Festival As Simple As That (TV, 1986), Behind the Black Screenings Munich 2001, Locarno 2001, Leipzig Mirror (TV, 1987), Phoenix Rising: The History of the 2001, Festival New Cinema New Media Montreal German Film Industry After WWII (TV, 1988), The 2001 (in competition), Amsterdam 2001, Palm Springs Jungle – Upton Sinclair and the Chicago Stockyards 2002, Hot Docs Toronto 2002 International (TV, 1990), Vilnius (TV, 1991), Along the Amber Coast Awards Best Documentary Montreal 2001 With (TV, 1993), Places in History: Hollywood (TV, 1994), backing from FilmFernsehFonds Bayern Last Take ’45 (TV, 1995), Ol’ Man River: A Trip Down the Mississippi (TV, 1996), A Brief History of Synchronicities (TV, 1997), The True Kir Royal (TV, 1998/99) and many more.

World Sales: CINEPOOL · A Dept. of Telepool Europäisches Fernsehprogrammkontor GmbH Dr. Cathy Rohnke, Wolfram Skowronnek Sonnenstr. 21 · D-80331 Munich phone +49-89-55 87 60 · fax +49-89-55 87 61 88 www.telepool.de · email: [email protected], [email protected]

Kino 1/2002 65 Nicht Fisch, nicht Fleisch NEITHER FISH, NOR FOWL

Adopted as a baby in Korea and raised in a provincial German town, Michael has two identities. His friends accept him as he is, but the mirror reminds Michael everyday of the hole in his biography which nags at him like an open wound. Who am I? Where are my roots? The questions of a generation which has lost sight of its goals because it has also lost touch with its own points of reference. When his adoptive parents divorce, Michael suddenly feels lost and runs to his best friend in Berlin. His confrontation with the beautiful Jin Hi forces him to make a decision, for even in Berlin’s Korean community he is ”neither fish, nor fowl“. As a German with no knowledge of the Korean language and tradition, he is damned to live between two cultures. Michael’s journey as a stranger in his own land makes him come to the realiza- tion that ”home“ can have many faces. Even that of a loved one … Ill-Young Kim, Ju-Youn Kim (photo © Dreamtool) Kim, Ju-Youn Ill-Young

Genre Coming-of-Age Story, Drama, Love Story Matthias Keilich was born in 1965 in Category Feature Film Cinema Year of Production Calw/Baden-Württemberg. After his 2001 Director/Screenplay Matthias Keilich schooling, he worked as a sculptor in Stutt- Director of Photography Henning Stirner Editor gart and Freiburg. In 1993, he enrolled in Gergana Voigt Music by Theo Krieger Production the German Film & Television Academy Design Martina Brünner Producers Stefan Raiser, Felix (dffb) in Berlin where he studied Script- Zackor Production Company Dreamtool Entertain- writing and Direction. During his studies, ment, Geiselgasteig, in co-production with dffb, Berlin, he made such films as Wer aussteigt ZDF, Mainz Principal Cast Ill-Young Kim, Ju-Youn Kim, hat verloren (1996), Tod in New Lisa Kreuzer, Jürgen Lehmann, Christian Steyer Casting York (1996) and Zu (1998), some of Robert Drews Length 90 min, 2565 m Format S-16 which were co-produced by the television mm Blow up 35 mm, color, 1:1.85 Original Version broadcasters Sat1, SFB, 3Sat and ZDF. German Subtitled Version English Sound Neither Fish, Nor Fowl is his first Technology Dolby SR International Festival feature-length film as well as his graduation Screenings Rotterdam 2002, Ophüls-Festival film from the dffb. Saarbrücken 2002 (in competition) With backing from FilmFernsehFonds Bayern, Filmboard Berlin- Brandenburg, BKM

World Sales: please contact Dreamtool Entertainment · Stefan Raiser Bavariafilmplatz 7 · D-82031 Geiselgasteig phone +49-89-64 98 14 24 · fax +49-89-64 98 13 24 www.dreamtool.de · email: [email protected]

66 Kino 1/2002 Nicole und Jean NICOLE AND JEAN

Nicole and Jean is a love story. A journey, over an entire summer, from Berlin to Paris, from Paris to the south. Nicole and Jean met, fell in love with each other, and consumed each other. Their story is one of two people who spent their lives looking for their place in life, but even together they could not find it. Nicole and Jean both died of cancer at a young age. Nicole and Jean is also the story of a daughter who takes on a journey to ask her parents all the questions that were deprived of her by their death. Nicole Cazanave

Genre Family Category Documentary Cinema Juliette Cazanave was born in 1966 in Paris. Year of Production 2001 Director/Screenplay She studied History in Madrid, followed by studies Juliette Cazanave Director of Photography in Art History and Film History in Paris. She then Isabelle Razavet, Jean-Marc Bouzou Editor Agnés transferred to the German Film & Television Bruckert, Andreas Menzel Music by Oblivion & Academy (dffb) in Berlin. She has worked as a pro- Milonga en Re by Astor Piazzolla Producer Christian duction assistant, editing assistant, news editor and Baute Production Company Movimento, Paris, in director’s assistant. Her films include: Paris- co-production with dffb, Berlin, Alias Film, Cologne, in Berlin (short, 1994), Sweets and Lipsticks cooperation with ARTE France, Paris, BR, Munich (short, 1995), A propos des arbres (short, Length 70 min Format Digi Beta/Super 8, color, 1995), The Green Room (Die grüne Bude, 16:9 Original Version French Dubbed Version documentary, 1996), Toilet (Klo, short, 1997), German Subtitled Version German Sound and Ailleurs si j’y suis (documentary, 1998) – Technology Dolby SR International Festival winner of the First Prize at the Filmfest Potsdam. Screenings Nyon 2001, Cinema du Réel Paris 2001, Nicole and Jean is her graduation film from Ophüls-Festival Saarbrücken 2002 International the dffb. Awards Bavarian Documentary Award 2001 With backing from Centre National de la Cinématogra- phie, Commission Télévision de la PROCIREP, Media Rent

World Sales: please contact dffb-Deutsche Film- & Fernsehakademie Berlin · Cristina Marx Potsdamer Str. 2 · D-10785 Berlin phone +49-30-25 75 91 52 · fax +49-30-25 75 91 62 www.dffb.de · email: [email protected]

Kino 1/2002 67 Nirgendwo in Afrika NOWHERE IN AFRICA

Just before the outbreak of World War II, the German-Jewish Redrich family manages to escape the Nazi terror at the very last moment. Five year old Regina begins a new life with her parents, Jettel and Walter, on a small isolated farm in Kenya, where they lead an impoverished existence far removed from their roots in Germany. While Regina discovers the magic of Africa, a foreign continent full of strange people, her parents become desperate in the face of poverty and isolation. For Walter, his inability to cut Germany out of his heart tortures him far more than their economic plight. This remains so even when he becomes certain that the rest of his family in Germany have been murdered by the Nazis. Lea Kurka, Sidede Onyulo (photo © BavariaLea Kurka, Film International)

Genre Drama Category Feature Film Cinema Caroline Link was born in Bad Nauheim in Year of Production 2001 Director/Screenplay 1964. She attended the Academy of Television & Caroline Link, based on the novel by Stefanie Zweig Film in Munich from 1986-1991. Her graduation Director of Photography Gernot Roll Editor film Sommertage (1991) won the Kodak Award Patricia Rommel Music by Niki Reiser Production at the Hof Film Festival. In 1996, she made Design Susann Bieling, Uwe Szielasko Producer Peter Beyond Silence (Jenseits der Stille), her Herrmann Co-Producers Bernd Eichinger, Thilo feature debut, which was nominated in 1998 for Kleine, Michael Weber, Sven Ebeling Production the Foreign Language OSCAR and received the Company MTM Medien & Television München, Bavarian Film Award, the German Film Award in Munich, in co-production with Constantin Film, Munich, Silver and the Guild Film Award in Gold, among Bavaria Film, Munich and Media Cooperation One, other commendations. Her other films include: Stuttgart Principal Cast Juliane Köhler, Merab the Erich Kästner-adaptation Annaluise and Ninidze, , Sidede Onyulo, Karoline Anton (Pünktchen und Anton, 1999), Eckertz, Lea Kurka Casting An Dorthe Braker Kalle der Träumer (TV, 1992), Glück zum Length 141 min, 3853 m Format 35 mm, color, cs Anfassen (1989) and Bunte Blumen (1988). Original Version German Subtitled Version English Sound Technology Dolby Digital With backing from FilmFernsehFonds Bayern, Film- förderungsanstalt (FFA), BKM German Distributor Constantin Film Verleih GmbH, Munich

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

68 Kino 1/2002 Der Schuh des Manitu MANITOU’S SHOE

”It’s a social, critical, auteur, western road comedy musical dogma thriller drama with horses – and thus also a film for girls.“ Michael ”Bully“ Herbig, director, producer, co-writer and starring actor

The Apache Chief Abahachi and his blood brother Ranger are responsible for keeping peace in the Wild West. The trouble all starts when Abahachi takes out a loan from the Shoshone Indians to buy a saloon for his tribe. It turns out that the real estate agent is no real estate agent at all – he’s a trickster and a really bad guy named Santa Maria. The saloon is only a façade and Santa Maria gets away with the money. To make matters worse, Abahachi and Ranger get blamed for the death of the Shoshone Chief’s son Funny Rabbit. They’ve got no choice – they have to find the treasure that Abahachi's grandfather Mad Cow bequeathed him many years ago, pay back the Shoshone and prove their innocence. Finding the treasure is not an easy matter, however, especially because Abahachi divided the treasure map into four parts and now can't remember who he gave the other three parts to. Scenes from ”Manitou's Shoe“ (© herbX film)Scenes from

Genre Western Spoof Category Feature Film Cinema Year of Michael ”Bully“ Herbig studied Photography and is Production 2001 Director Michael ”Bully“ Herbig Screenplay well known on the German comedy scene as a writer, Michael ”Bully“ Herbig, Alfons Biedermann, , Murmel director and producer. In addition to his morning radio Clausen Director of Photography Stephan Schuh Editor show Langemann und die Morgencrew from 1992 - 1995, Alexander Dittner Music by Ralf Wengenmayr Production Design he also made 800 episodes of the comedy radio show Claus Kottmann Producers Michael ”Bully“ Herbig, Michael Wolf Die Bayern Cops. He has appeared in various advertise- Production Company herbX film Produktion, Munich, in co-pro- ments and TV specials, and is author, actor, director and duction with Constantin Film, Munich, SevenPictures, Munich Principal producer of the , which is now in its fifth Cast Michael ”Bully“ Herbig, Christian Tramitz, Sky du Mont, Marie season on German television. His feature film directorial Bäumer, Hilmi Sôzer, Rick Kavanian Casting Rita Serra-Roll Special debut was the comedy Erkan & Stefan (1999), which Effects CA Scanline, Geiselgasteig Studio Shooting ARRI, Munich was released in Germany in April 2000. Also in 2000, he Length 87 min, 2225 m Format Super 35 mm, color, cs Original founded the film production company herbX film, whose Version German Subtitled Version English Sound Technology first project was Manitou’s Shoe. Dolby Digital International Festival Screenings Berlin 2002 (German Cinema) International Awards Bambi 2001, German Comedy Prize 2001 for Best Feature Film, Golden Screen with 2 Stars With backing from FilmFernsehFonds Bayern, Filmstiftung NRW, Filmförderungsanstalt (FFA) German Distributor Constantin Film Verleih GmbH, Munich

World Sales: GERMAN BOX OFFICE RECORD Beta Film GmbH · Dirk Schürhoff OVER 10 MILLION ADMISSIONS Robert-Buerkle-Str. 2 · D-85737 Ismaning phone +49-89-99 56 21 34 · fax +49-89-99 56 27 03 www.betafilm.com · email: [email protected]

Kino 1/2002 69 Semana Santa

It’s Saint’s week in Seville when detective Maria Delgado hits town. She’s running from the past, her new partner doesn’t like her either, and she’s just in time to investigate a bizarre double murder. As Maria joins forces with the shy Torillo and the resentful Quemeda, a third brutal death points to the presence of a serial killer. At first there are no clues, but when an old man tells Maria about the terrifying place called La Soledad, the truth begins to emerge. The three detectives begin a cat-and-mouse chase with an insane but ingenious killer, and at the same time they start to uncover a history that somebody wants very badly to conceal. As the trail gets clearer, it becomes a great deal more dangerous. One thing is certain, more blood will be spilled before the end of Semana Santa. Scene from ”Semana Santa“ (photo Scene from © Schlemmer Film 2002)

Genre Thriller, Psycho-Thriller Category Feature Film Cinema Pepe Danquart was born in 1955 and stu- Year of Production 2002 Director Pepe Danquart died Communications from 1975-1981. He Screenplay Roy Mitchell, based on the novel by David Hewson received an Academy Award in 1994 for his Director of Photography Ciro Cappelari Editor Peter R. widely acclaimed short Black Rider Adam Music by Andrea Giuerra Production Design William (Schwarzfahrer, 1993). Together with Abello Producers Christoph Meyer-Wiel, Paul Berrow, Philippe Mirjam Quinte, he co-directed Passt bloß Guez Production Company Schlemmer Film, Cologne, in co- auf … (1980) and Off Season (Nach production with Wandering Star, London, Evidence Films, Paris, Saison, 1996). His other films include: Senator Film Produktion, Berlin, Poetiche Cinematografiche, Rome, Dädalus (1991), Das 7. Jahr – Ansichten La Fiera Corrupia, Madrid, M & M Productions, Lyngby Principal zur Lage der Nation (1997), Playboys Cast Mira Sorvino, Olivier Martinez, Alida Valli, Peter Berling (1998), Heimspiel (2000) – which won him Casting Penelope Snelling Special Effects Colin Arthur the German Film Award in Gold for Best Director Studio Shooting Studio Bendestorf, Hamburg Length 94 min, in 2000, and Mörderinnen (2001), among 2632 m Format 35 mm, color, 1:1.85 Original Version English others. Sound Technology Dolby Digital Surround EX With backing from FilmFörderung Hamburg, Eurimages, Filmförde- rungsanstalt (FFA) German Distributor Senator Film Verleih GmbH, Berlin

World Sales: UGC International · Henri Ernst 2, rue des Quatre-Fils · F-75003 Paris phone +33-1-40 29 89 00 · fax +33-1-40 29 89 10 www.ugc.fr · email: [email protected]

70 Kino 1/2002 Starbuck – Holger Meins

Twenty-five years after the death of Holger Meins, filmmaker and former student friend of the deceased Gerd Conradt takes an in-depth look at the helmsman of the Baader-Meinhof gang. Who was Holger Meins? What led him into the underground? What circumstances resulted in his death, a death which made him the declared symbol of the radical opposition in Germany? What remains of his legacy? Berlin 1967: A group of young film students start with their studies, among them Hamburg-born Holger Meins. Five years later, Meins is arrested as a member of the Baader-Meinhof-Group. The news images are broadcasted around the world. In 1974, the first prisoner from the Red Army Faction dies as the result of a hunger strike: Holger Meins. The decisive moments in Holger Meins’ biography represent the potentialities of the lives of a whole post- war generation, whereby each document has its own history. Scenes from ”Starbuck – Holger Meins“ (photoConradt) Scenes from © Gerd

Genre Drama, History Category Documentary Cinema Gerd Conradt was born in 1941 in Thuringia. Year of Production 2001 Director Gerd Conradt After studying Photography, he started his film Screenplay Gerd Conradt, Harmut Jahn Directors of career at the German Film & Television Academy Photography Armin Fausten, Hans Rombach, Phillip Virus (dffb) in Berlin in 1968. After lecturing for about Editor Neliah Ibeh Music by Lars Löhn Producer Hartmut seven years at different Berlin universities, he Jahn Production Company Jahn Filmproduktion, directed a series of German poems for the Berlin Hanover/Berlin Principal Cast Suzanne Beyeler, Thomas broadcaster SFB. Since this time he has been Giefer, Manfred Blessmann, Enzio Edschmid, Harun Farocki, working as a director and author for documentary Rainer Langhans, Peter Lilienthal, Wilhelm Meins, Gretchen films for television. He his well known for his Dutschke, Michael Ballhaus, Wolfgang Petersen, Margrit Schiller, long-term documentaries: About Holger Alfred Klaus, Verena Reichhardt, Christian Brückner Length Meins (1982), The Video-Pioneer (1984), 90 min (international version 52 min), 2462 m Format 35 mm, TV-Greetings from West to East (1985), color and b&w, 1:1.66 Original Version German Subtitled Heavy User (1989), Hold Me – Love Me: Version English Sound Technology Stereo International Tempodrom in Berlin (1995), Dyngyldai Festival Screenings Leipzig 2001 (in competition), Rotterdam (1996), Men and Stones (1998), and A 2002, Göteborg 2002 With backing from Filmboard Berlin- Portrait of Marceline Loridan (1998). Brandenburg, NDR Filmförderung in Niedersachsen, NordMedia, MEDIA German Distributor Neue Vision Filmverleih, Berlin

World Sales: Jahn Media · Hartmut Jahn Waldstr. 11 · D-30163 Hanover phone/fax +49-6 11-5 42 09 99 www.starbuck-holger-meins.de · email: [email protected]

Kino 1/2002 71 Tattoo

In the basement of an unfinished building, bright spotlights and electrifying pills transport the young guests into another world. Marc, freshly graduated from the police academy, is among those who enjoy music and drugs – until police detective Minks and his people raid the place. Marc can es- cape, but his jacket is found. The pills he hid in it provide an opportunity for Minks, and his young colleague will face a tough decision: Marc will either work for Minks in homicide, or his career will be finished on drug possession charges. But why would this cynical detective, generally feared for his unconventional methods, want Marc at his side? Soon it becomes clear what Minks is expecting from the cooperation with his party-wise fellow detective. He wants to gain access to a world that is closed to him, a world which swallowed up his daughter Marie two years ago. Marc’s investigation leads him to the burnt corpse of a young woman, and several other leads direct him to a series of other murder cases, which all have one thing in common: the perpetrator seems to dissect his vic- tims with a scalpel because all of them are missing large pieces of skin. During his investigation Marc comes across Maya, the beautiful if very cool girlfriend of one of the victims. She too will be sucked into the maelstrom of this case, from which there seems to be no escape … August Diehl (photo © Bavaria Film International)

Genre Thriller Category Feature Film Cinema Year of Robert Schwentke studied at Columbia Production 2001 Director/Screenplay Robert Schwentke College and later at the American Film Director of Photography Jan Fehse Editor Peter Institute. Prior to this, he studied Philosophy Pryzygodda Music by Christoph M. Kaiser Production at the Karls-University in Tübingen. He is an Design Josef Sanktjohanser Producer Roman Kuhn, Jan Hinter experienced TV author, and yet Tattoo is Production Company Lounge Entertainment, Munich, in co- his debut as a director on the big screen. An production with StudioCanal Produktion, Berlin Principal Cast expert when it comes to suspense, his TV August Diehl, Christian Redl, Nadeshda Brennicke Casting Anja scripts are all prime examples of gripping Dihrberg, Dirk Fehrecke Special Effects Henrik Scheib, Georg stories. His Tatort thriller Bilderturm Korpas Studio Shooting Info Studio, Monheim-Baumberg (TV, 1998) was nominated for the prestigious Length 110 min, 3025 m Format 35 mm, color, cs Adolf Grimme Award. Original Version German Subtitled Version English Sound Technology Dolby Digital SDR With backing from Filmstiftung NRW, Filmboard Berlin-Brandenburg, Filmförderungsanstalt (FFA) German Distributor Tobis StudioCanal, Berlin

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

72 Kino 1/2002 Unterwegs in die nächste Dimension NEXT DIMENSION: MIND OVER MATTER

Alchemists, spiritual healers, shamans. They are everywhere in the world. But do they really have special powers? What is real? What is magic? Clemens Kuby travels with his digital camera around the world and films phenomena which usually remain hidden. The film portraits people with unexplainable capabilities, how they live and the influence they have. The viewer delves into a magical world, in which incomprehen- sible powers and unbelievable possibilities become real. To travel into the next dimension means to give the unknown a chance. Don Agustin Rivas Vasques (photo © Ottfilm)Don Agustin Rivas Vasques

Genre Art Category Documentary Cinema Clemens Kuby was born in 1947 in Bavaria. Year of Production 2001 Director/ He studied History, Law, Sociology and Eco- Screenplay Clemens Kuby Director of nomics at the Free University in Berlin, followed Photography Gerardo Milsztein Editors by studies in Directing at the German Film & Clemens Kuby, Peter Gardner Music by Manfred Television Academy (dffb) from 1969-72. His Hochholzer Producers Clemens Kuby, Beat Curti, debut film Lehrlinge won the First Prize at Walter Gunz Production Company Kuby Film Oberhausen in 1972. From 1983-89, he was an TV, Munich, in co-production with BR, Munich instructor for Audiovisual Media in Munich. In Principal Cast Don Agustin Riva Vasques, Evgeni 1983, he directed and produced his first feature Bondarenko, Laurence Cacteng, Lhamo Dolkar, film, Schnappschuss, with Pina Bausch and Sayagyi U Shine, Hi-Ah Park Special Effects Ivan Ariane Mnouchkine. His documentary Das Push, megaherz Length 84 min, 2200 m Format Alte Ladakh won a German Film Award in 35 mm, color, 1:1.85 Original Version German 1986. His other films include: Tibet – Subtitled Version English Sound Technology Widerstand des Geistes (1988), Living Dolby Stereo International Festival Buddha (1994) – winner of the Bavarian Film Screenings Munich 2001 With backing from Award, Todas – Am Rande des Para- FilmFernsehFonds Bayern, Filmförderungsanstalt dieses (1996), and many more. (FFA) German Distributor ottfilm GmbH, Berlin

World Sales: please contact Kuby Film TV · Clemens Kuby Schleissheimerstr. 15 b · D-85748 Garching phone +49-89-3 29 15 32 · fax 49-89-3 20 67 97 www.naechste-dimension.de · email: [email protected]

Kino 1/2002 73 Viel passiert – Der BAP Film ODE TO COLOGNE

Wenders and Niedecken: the internationally renowned filmmaker and the successful rock musician got together to make a rock ’n’ roll film that breaks all conventions. A gripping collage of current concert recordings and rare archive photos, enhanced by Niedecken’s unique texts and commentaries, as well as guest appearances by Wolf Biermann, Marie Bäumer, Joachim Król and the rock band Anger 77 – a fascinating portrait of a band that even after 20 years of ”Cologne rock“ is still at the top. Ode to Cologne is a special kind of music film, one that will excite not only BAP fans. Wim Wenders, Marie Bäumer, Wolfgang Niedecken (photo © Screenworks Köln GmbH) (photo Niedecken © Screenworks Köln Wolfgang Marie Bäumer, Wim Wenders,

Genre Music Category Documentary Wim Wenders was born in Düsseldorf in 1945. He attended TV/Cinema Year of Production 2000/01 the Academy of Television & Film (HFF/M) in Munich from 1967- Director Wim Wenders Screenplay Wim 1970. From 1968-72, he wrote articles for Filmkritik and the Süd- Wenders Director of Photography Phedon deutsche Zeitung and was a founding member of the Filmverlag Papamichael Editors Moritz Laube, Igor Patalas der Autoren. In 1975, he set up his own production company Music by BAP Producer Olaf Wicke Road Movies. Wenders has received many international awards, Production Company Screenworks, Cologne, including the Golden Lion (1982), Golden Palm (1984), and the Felix BAP Travelling Tunes Productions, Cologne, WDR, (1988). His films include: Summer in the City (1970), The Cologne Principal Cast BAP, Marie Bäumer, Goalkeeper’s Fear of the Penalty (1971), Alice in the Joachim Król, Willi Laschet, Anger 77, Wolf Cities (1973), Wrong Move (1974), Kings of the Road Biermann Studio Shooting Blue Space, Hürth (1975), (1977), Hammett Length 96 min, 2623 m Format Digital Betacam (1978/82), The State of Things (1982), Paris, Texas Blow-up 35 mm, color, 1:1.85 Original (1984), (1986), Until the End of Version German Subtitled Version English the World (1990), Faraway, So Close (1993), Lisbon Sound Technology Dolby Digital Inter- Story (1994), The End of Violence (1997), Buena Vista national Festival Screenings Berlin 2002 (out Social Club (1998) and The Million Dollar Hotel of competition) With backing from Filmstiftung (2000), among others. NRW German Distributor ott film GmbH, Berlin

World Sales: please contact AT B E R L I N Screenworks Köln GmbH · Kerstin Lackmann Hildeboldplatz 15-17 · D-50672 Cologne OUT OF COMPETITION phone +49-2 21-57 96 80 · fax +49-2 21-5 79 68 20 www.screenworks.tv · email: [email protected]

74 Kino 1/2002 www. german- cinema. de/

INFORMATION ON GERMAN FILMS.

GERMAN CINEMA

Export-Union des Deutschen Films GmbH Sonnenstrasse 21 · D-80331 Munich · phone +49-89-5 99 78 7 0 · 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 Beichstr. 8, D-80802 Munich 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 Agnesstr. 14, D-80798 Munich 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 Landstr. 75, D-81539 Munich phone +49- 89-6 42 49 70, fax +49-89-6 92 09 10 email: [email protected]

Filmförderungsanstalt Große Präsidentenstr. 9, D-10178 Berlin 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 Str. 198, D-53117 Bonn 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-Str. 26-53, D-14482 Potsdam-Babelsberg 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 Sonnenstr. 21, D-80331 Munich phone +49-89-5 44 60 20, fax +49-89-54 46 02 21 www.fff-bayern.de email: [email protected]

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

Filmstiftung NRW GmbH Kaistr. 14, D-40221 Düsseldorf phone +49-2 11-93 05 00, fax +49-2 11-93 05 05 www.filmstiftung.de email: [email protected]

Medien- und Filmgesellschaft Baden-Württemberg mbH Filmförderung Breitscheidstr. 4, D-70174 Stuttgart phone +49-7 11-90 71 54 00, fax +49-7 11-90 71 54 50 www.film.mfg.de email: [email protected]

Mitteldeutsche Medienförderung GmbH Hainstr. 17-19, D-04109 Leipzig phone +49-3 41-26 98 70, fax +49-3 41-2 69 87 65 www.mdm-foerderung.de email: [email protected] Film Exporters

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

ARRI Media Worldsales CINEPOOL – Dept. of Telepool Media Luna Entertainment please contact Antonio Exacoustos jun. Europäisches Fernsehprogramm- GmbH & Co.KG Türkenstr. 89 kontor GmbH please contact Ida Martins D-80799 Munich please contact Dr. Cathy Rohnke, Hochstadenstr. 1-3 phone +49-89-38 09 12 88 Wolfram Skowronnek D-50674 Cologne fax +49-89-38 09 16 19 Sonnenstr. 21 phone +49-2 21-1 39 22 22 www.arri-mediaworldsales.de D-80331 Munich fax +49-2 21-1 39 22 24 email: [email protected] phone +49-89-55 87 60 www.medialuna-entertainment.de fax +49-89-55 87 61 88 email: [email protected] Atlas International www.telepool.de Film GmbH email: [email protected], Progress Film-Verleih GmbH please contact [email protected] please contact Christel Jansen Dieter Menz, Stefan Menz, Christl Blum Burgstr. 27 Rumfordstr. 29-31 DWF D-10178 Berlin D-80469 Munich Dieter Wahl Film phone +49-30-24 00 32 25 phone +49-89-21 09 75-0 please contact Dieter Wahl fax +49-30-24 00 32 22 fax +49-89-22 43 32 Postfach 71 10 26 www.progress-film.de www.atlasfilm.com D-81460 Munich email: [email protected] email: [email protected] phone +49-89-53 27 21 fax +49-89-53 12 97 Road Sales GmbH Bavaria Film International email: [email protected] Media Distribution Dept. of Bavaria Media GmbH please contact Denise Booth please contact Michael Weber, Exportfilm Bischoff & Co. GmbH Clausewitzstr. 4 Thorsten Schaumann please contact Jochem Strate, D-10629 Berlin Bavariafilmplatz 8 Philip Evenkamp phone +49-30-8 80 48 60 D-82031 Geiselgasteig Isabellastr. 20 fax +49-30-88 04 86 11 phone +49-89-64 99 26 86 D-80798 Munich www.das-werk.de fax +49-89-64 99 37 20 phone +49-89-2 72 93 60 email: [email protected] www.bavaria-film-international.de fax +49-89-27 29 36 36 email: [email protected] email: [email protected] RRS Entertainment Gesellschaft für Filmlizenzen GmbH Beta Film GmbH german united distributors please contact Robert Rajber please contact Dirk Schürhoff Programmvertrieb GmbH Sternwartstr. 2 Robert-Buerkle-Str. 2 please contact Silke Spahr D-81679 Munich D-85737 Ismaning Richartzstr. 6-8a phone +49-89-2 11 16 60 phone +49-89-99 56 - 21 34 D-50667 Cologne fax +49-89-21 11 66 11 fax +49-89-99 56 - 27 03 phone +49-2 21-92 06 90 email: [email protected] www.betafilm.com fax +49-2 21-9 20 69 69 email: [email protected] email: [email protected] Transit Film GmbH and please contact Loy W. Arnold, Mark Grünthal cine aktuell Bavaria Media Television Dachauer Str. 35 Filmgesellschaft mbH please contact Rosemarie Dermühl D-80335 Munich please contact Eugen Schaarschmidt, Bavariafilmplatz 8 phone +49-89-59 98 85-0 Ralf Faust, Axel Schaarschmidt D-82031 Geiselgasteig fax +49-89-59 98 85-20 Werdenfelsstr. 81 phone +49-89-64 99 36 66 email: [email protected] D-81377 Munich fax +49-89-64 99 22 40 phone +49-89-7 41 34 30 email: [email protected] Uni Media International fax +49-89-74 13 43 16 Filmvertriebsgesellschaft mbH email: [email protected] Kinowelt Medien AG please contact Irene Vogt Kinowelt World Sales Bayerstr. 15 Cine-International Filmvertrieb A Division of Kinowelt D-80335 Munich GmbH & Co. KG Lizenzverwertungs GmbH phone +49-89-59 58 46 please contact Lilli Tyc-Holm, Susanne Groh please contact Jochen Hesse, fax +49-89-5 50 17 01 Leopoldstr. 18 Stelios Ziannis email: [email protected] D-80802 Munich Infanteriestr. 19/Geb. 6 phone +49-89-39 10 25 D-80797 Munich Waldleitner Media GmbH fax +49-89-33 10 89 phone +49-89-30 79 66 please contact Michael Waldleitner, www.cine-international.de fax +49-89-3 07 96 70 67 Angela Waldleitner email: [email protected] www.kinoweltworldsales.com Münchhausenstr. 29 email: [email protected] D-81247 Munich phone +49-89-55 53 41 fax +49-89-59 45 10 email: [email protected]

77 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 German Film Weeks in key cities of the interna- German Cinema are: Jochem Strate (chairman), Rolf Bähr, tional film industry (2001: Buenos Aires, London, Los Angeles, Antonio Exacoustos Jr. and Michael Weber. Madrid, Mexico City, New York, Paris, Rome);

The Export-Union itself has nine permanent staff: • Christian Dorsch, managing director Providing advice and information for representatives of • Susanne Reinker, PR manager the international press and buyers from the fields of • Julia Basler, project manager cinema, video, TV; • Angela Hawkins, publications editor • Andrea Rings, assistant to the managing director • Stephanie Weiss, PR assistant Providing advice and information for German filmmakers and • Nicole Kaufmann, project coordinator press on international festivals, conditions of participation • Petra Bader, office manager and German films being shown, e.g. publication of a • Barbara Hirth, accounts comprehensive guide to international film festivals as well as a German film festival guide; In addition, the Export-Union shares foreign representatives in eight countries with the German Federal Film Board (FFA). (cf. page 79) Publication of informational literature on the current German cinema: KINO-Magazine and KINO-Yearbook; The Export-Union’s budget of presently approx. Euro 3.1 million (including projects, administration, foreign representatives) comes from the export levies, monies from the office of the Federal An Internet website (http://www.german-cinema.de) Government Commissioner for Cultural Affairs and the Media and offering information about new German films, a film the FFA. In addition, the six main economic film funds archive, as well as information and links to German and (Filmboard Berlin-Brandenburg, FilmFernsehFonds Bayern, FilmFör- international film festivals; derung Hamburg, Filmstiftung NRW, Medien- and Filmgesellschaft Baden-Württemberg and Mitteldeutsche Medienförderung) have made a financial contribution, currently amounting to Euro 0.25 Organization of the selection procedure for the German million, towards the work of the Export-Union. In 1997, the Export- entry for the OSCAR for Best Foreign Language Film. Union and five large economic film funds founded an advisory committee whose goal is the ”concentration of efforts for the promotion of German film abroad“ (constitution). The focus of the work: feature films, documentaries with theatrical potential and shorts that have been invited to the main The Export-Union is a founding member of the ”European Film sections of major festivals. Promotion“, an amalgamation of twenty national film-PR agencies (UNIFRANCE, Swiss Films, Italia Cinema, Holland Film, among others) with similar responsibilities to those of the Export- Union. The organization, with its headquarters in Hamburg, aims to develop and realize joint projects for the presentation of European films on an international level. 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 I-00187 Rome GB-London WC2H ODT phone + fax +54-11-49 51 19 10 phone +39-06-4 82 80 21 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]

China & South East Asia Japan USA/West Coast Lukas Schwarzacher Tomosuke Suzuki Corina Danckwerts Flat F, 18/F, Tonnochy Tower A Nippon Cine TV Corporation Capture Film, Inc. 272 Jaffe Road Suite 123, Gaien House 2400 W. Silverlake Drive Wanchai 2-2-39 Jingumae, Shibuya-Ku Los Angeles, CA 90039, USA Hong Kong SAR, China Tokyo, Japan phone +1-3 23-6 68-01 12 phone +8 52-97 30 55 75 phone +81-3-34 05 09 16 fax +1-3 23-6 68-08 53 fax +1-2 40-255-7160 fax +81-3-34 79-08 69 email: [email protected] email: [email protected] email: [email protected]

France Spain The new USA/East Coast & Canada Cristina Hoffman Stefan Schmitz representative will be designated in 33, rue L. Gaillet Avalon Productions S.L. March 2002. For up-to-date information F-94250 Gentilly C/ Duque de Rivas, 2-2°D please contact the Export-Union in phone + fax +33-1-49 8644 18 E-28012 Madrid Munich. email: [email protected] phone +34-91-3 66 43 64 phone +49-89-59 97 87 0, fax +34-91-3 65 93 01 fax +49-89-59 97 87 30, email: [email protected] email: [email protected]

Imprint published by: Editors Angela Hawkins, Susanne Reinker

Export-Union des Production Reports Martin Blaney, Simon Kingsley Deutschen Films GmbH Sonnenstr. 21 Contributors for this issue Martin Blaney, Simon Kingsley, Peter Körte, D-80331 Munich Christa Thelen 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 ISSN 0948-2547 Art Direction Werner Schauer Credits are not contractual for any Printing Office ESTA Druck, of the films mentioned in this publication. Obermühlstr. 90, D-82398 Polling

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. Contact in Berlin: Bavaria Film International German Boulevard D10 Fon +49-30-25291-572 Fax +49-30-25291-576

BAVARIA FILM INTERNATIONAL PRESENTS AN MTM MEDIEN & TELEVISION MÜNCHEN PRODUCTION IN CO-PRODUCTION WITH KINOWELT FILMPRODUKTION BAVARIA FILM IN ASSOCIATION WITH ZDF WITH SUPPORT FROM FILMFERNSEHFONDS BAYERN FFA „A MAP OF THE HEART” WITH KAROLINE EICHHORN ANTONIO WANNEK SEBASTIAN URZENDOWSKY RALPH HERFORTH PETER LOHMEYER SORAYA GOMAA CASTING AN DORTHE BRAKER MAKE-UP NANNI GEBHARDT-SEELE SOUND TOM WEBER (BVT) SOUNDMIX MARTIN STEYER COSTUME BARBARA GRUPP SET DESIGN CLAUS JÜRGEN PFEIFFER MUSIC DIETER SCHLEIP EDITOR HANA MÜLLNER DIRECTOR OF PHOTOGRAPHY BENEDICT NEUENFELS (AAC/BVK) PRODUCTION MANAGER CHRISTINE CARBEN-STOTZ EXECUTIVE PRODUCER ANDREAS BAREISS CO-PRODUCER TV CAROLINE VON SENDEN CO-PRODUCERS ULRICH LIMMER MICHAEL WEBER ANDREAS BAREISS SCREENPLAY MARKUS BUSCH DOMINIK GRAF PRODUCER GLORIA BURKERT DIRECTOR DOMINIK GRAF