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EXPORT-UNION OF GERMAN CINEMA 2/2001

”MEDIUM OF ENTERTAINMENT & CULTURAL MESSENGER“ A message from the new Federal Government Commissioner for Cultural Affairs and the Media, Prof. Dr. Julian Nida-Rümelin

GERMAN FILM PRIZE ... and the nominees are …

GERMAN BOX OFFICE HIT ”THE EXPERIMENT“ by Oliver Hirschbiegel Kino Moritz Bleibtreu, in ”THE EXPERIMENT“ (photo © SENATOR Christian Berkel FILM)

GERMAN CINEMA GERMAN FILMS at the official program of the

Directors’ Fortnight Ecce Homo by Mirjam Kubescha World Sales please contact: Confine Film, phone/fax +49-89-13 03 87 66

Directors’ Fortnight: ”Le Cinéma dans tous ses états“ The Films of the Fishes by Helma Sanders-Brahms World Sales please contact: Helma Sanders GmbH, phone/fax +49-30-2 15 83 44

Cannes Junior Eine Hand voll Gras A Handful of Grass by Roland Suso Richter World Sales: Film International, Geiselgasteig phone +49-89-64 99 26 86 · fax +49-89-64 99 37 20

Critics’ Week: Short Film Competition Staplerfahrer Klaus – Der erste Arbeitstag Forklift Driver Klaus – The First Day on the Job by Jörg Wagner, Stefan Prehn World Sales: ShortFilmAgency phone +49-40-3 91 06 30 · fax +49-40-39 10 63 20

Critics’ Week: FIPRESCI Discovery of the Year Die Innere Sicherheit The State I Am In by Christian Petzold World Sales: First Hand Films, CH-Bülach phone +41-1-8 62 21 06 · fax +41-1-8 62 21 46 Critics’ Week: Short Film Night Forever Flirt: Nijinsky at the Laundromat The Autograph Triumph of the Kiss by Percy Adlon World Sales please contact: Leora Films, Santa Monica phone +1-3 10-8 28 47 66 · fax +1-3 10-8 28 87 66

Forum: ACDO Havanna, mi amor by Uli Gaulke World Sales: EuroArts Entertainment Filmproduktion, Berlin phone +49-30-88 70 81 72 · fax +49-30-88 70 81 70

GERMAN-INTERNATIONAL CO-PRODUCTIONS at the OFFICIAL PROGRAM

In Competition

Il Mestiere Delle Armi by Ermanno Olmi (--) German co-producer: TaurusProduktion, Ismaning phone +49-89-9 95 60 · fax +49-89-99 56 27 59

Un Certain Regard

Hijack Stories by Oliver Schmitz (Germany-) German producer: Schlemmer Film, Cologne phone +49-2 21-9 12 75 10 · fax +49-2 21-9 12 75 12

Lovely Rita by Jessica Hausner (-Germany) German co-producer: Essential Filmproduktion, Berlin phone +49-30-32 77 78 79 · fax +49-30-3 23 20 91 KINO 2/2001

6 ”Medium of Entertainment and 36 Untitled MTM Project Cultural Messenger“ Urs Egger A message from the new Federal Government 37 Wildenranna – Ein Heimatfilm Commissioner for Cultural Affairs and the Media Alice Agneskirchner

8 Film Archives and Film Museums in the Federal Republic 38 The 100 Most 17 Unswerving Commitment Significant German Films Director’s Portrait 38 Highlights of German Film History 18 Progression and Persistence The 100 Most Significant German Films Director’s Portrait 39 M – Eine Stadt sucht einen Mörder M – A TOWN IS LOOKING FOR 21 United They Sell A MURDERER World Sales Portrait: german united distributors 40 Das Cabinet des Dr. Caligari 22 The Progress Report THE CABINET OF DR. CALIGARI World Sales Portrait: Progress Film-Verleih Robert Wiene 41 Berlin. Die Sinfonie der Großstadt 24 Time of New Departures BERLIN, SYMPHONY OF A CITY Producer’s Portrait: UFA Film & TV Produktion Walther Ruttmann 42 Menschen am Sonntag 26 KINO news PEOPLE ON SUNDAY Robert Siodmak

30 In Production 44 New German Films 30 Elefantenherz Züli Aladag 44 Berlin Babylon AT CA N N E S Hubertus Siegert 30 La Grande Chartreuse MARKET SCREENINGS Philip Gröning 45 Drei Stern Rot 3 STAR RED 31 Halbe Treppe AT CA N N E S Andreas Dresen MARKET SCREENINGS Olaf Kaiser 32 Im Osten geht die Sonne auf 46 Erotic Tales: PORN.COM Wolfgang Ettlich 32 Ninas Geschichte AT CA N N E S Erotic Tales: Verkehrsinsel Joseph Orr MARKET SCREENINGS WHY DON’T WE DO IT IN THE ROAD? 33 Planet der Kannibalen Eoin Moore Hans-Christoph Blumenberg 47 34 Die Prüfung THE EXPERIMENT GERMAN BOX OFFICE HIT 1.5 MILLION ADMISSIONS Seyhan Derin Oliver Hirschbiegel 34 Semper 2000 Thomas Tielsch 35 Someone Is Sleeping In My Pain Michael Roes 36 Tamara Michael Gutmann CONTENTS

63 Palermo flüstert PALERMO WHISPERS Wolf Gaudlitz 48 Ein göttlicher Job 64 Photographie und jenseits AT CA N N E S A GODDAMN JOB PHOTOGRAPHY AND BEYOND MARKET SCREENINGS Thorsten Wettcke Heinz Emigholz AT CA N N E S 49 Heidi M. 65 So weit die Füße tragen MARKET SCREENINGS Michael Klier AS FAR AS MY FEET WILL CARRY ME 50 In den Tag hinein Hardy Martins THE DAYS BETWEEN 66 Tanz mit dem Teufel Maria Speth DANCE WITH THE DEVIL 51 It Happened in Havana AT CA N N E S Peter Keglevic MARKET SCREENINGS Daniel Díaz Torres 67 Venus und Mars

52 Kaliber Deluxe AT CA N N E S VENUS AND MARS BLOODY WEEKEND MARKET SCREENINGS Harry Mastrogeorge Thomas Roth 68 Wie Feuer und Flamme 53 Konzert im Freien NEVER MIND THE WALL

A PLACE IN BERLIN Connie Walther AT CA N N E S Jürgen Böttcher 69 Zeichnen bis zur Raserei MARKET SCREENINGS 54 Lale Andersen – – Der Maler Ernst Ludwig Kirchner Die Stimme der DRAW TIL YOU DROP LALE ANDERSEN – THE VOICE OF – THE PAINTER ERNST LUDWIG KIRCHNER LILI MARLEEN Michael Trabitzsch Irene Langemann 70 Das Zimmer 55 Legion of the Dead AT CA N N E S THE ROOM MARKET SCREENINGS Olaf Ittenbach Roland Reber 56 Mädchen Mädchen GIRLS ON TOP Dennis Gansel 72 Film Exporters 57 Milch und Honig aus Rotfront MILK AND HONEY FROM ROTFRONT 74 Foreign Representatives Hans-Erich Viet

58 Der Mistkerl AT CA N N E S 74 Imprint THE BLOODY NUISANCE MARKET SCREENINGS Andrea Katzenberger 59 Mondscheintarif Ralf Huettner 60 Muratti & Sarotti MURATTI & SAROTTI – HISTORY OF GERMAN ANIMATION Gerd Gockell 61 Nachts im Park Uwe Janson 62 Nancy und Frank NANCY AND FRANK: A MANHATTAN LOVE STORY Wolf Gremm A message from the new Federal Government Commissioner

Prof. Dr. Nida-Rümelin has been the Federal Government’s Commissioner for Cultural Affairs and the and Media since 13 January 2001. He assumed office almost at the same time as the Berlinale 2001 was taking place. He used this occasion not only as a welcome opportunity to gain closer knowledge and personal experience of important personalities and institutions within both the national and international film business, but also to clearly state his intention of making film policy the main thrust of his period of office, as well as those other areas which he considers to be of the most importance. ”MEDIUM OF ENTERTAINMENT AND CULTURAL MESSENGER“

Films have fascinated me ever since I was a child. Whenever I’m The German film industry is currently undergoing deep structural asked where this fascination comes from I often think of a remark changes affecting all aspects of its activities, not least of which is made by Andrei Tarkovsky, where he described film as ”the most due to the extremely rapid pace of technical development. We poetic of all the arts.“ I share this opinion. Films create their own must react to this structural change and try to actively manage it. worlds and satisfy our longing for myths. They tell stories and Here the state, both the national and regional governments, change our way of looking at things. They combine entertainment plays an indispensable role. I am in no doubt that strengthening and the aesthetic, dreams and reality, like almost no other form German film will belong to one of my main activities. of art. The reference they make to the world in which we live is closer than, for example, that of contemporary painting and The situation in which German film currently finds itself is partly sculpture or e-music. influenced by mutually opposing factors. On the one hand we have, not least of which is due to the strength of the German Even when film is most widely considered a medium of enter- television industry, a considerable number of outstanding, tainment it remains, as before, a cultural object and a cultural artistically significant and financially successful films and the large messenger. In the 20th century it has, in many ways, assumed potential afforded by highly talented directors, script , the role that opera played in the 19th century. The art of film actors and technicians who stand all international comparison. embodies acting, music, writing, the visual arts, dance, etc. Film This also applies to the young generation, as evidenced by the politics, as I understand and wish to conduct it, are first and OSCAR awarded to Florian Gallenberger for the Best Short Film. foremost the politics of culture and should be intended to help But on the other hand, the financial success achieved by as many people as possible gain access to the entire body of German films and their audience acceptance domestically is this art and promote the public conscious for that cultural not satisfactory and, especially abroad, needs to be improved. dimension film affords. There are a number of reasons which I cannot go into individually here. But in any event one thing is certain: Increased efforts have As the reflection of the personal and cultural identity of its to be undertaken to maximize the potential of the German film makers, film has not only a universal but also a regional compo- industry. I want to actively support our film industry in these nent. It is precisely the mixing of both these aspects which creates efforts. the main fascination. It cannot be in our interest if the regional cultural identity in filmmaking is replaced by a more or less If individual elements of film policy are to strengthen the film ”globalized“ flavor, oriented just towards entertainment value, industry that does not mean simply handing out subsidies. Much as is to be found especially in many Hollywood productions. more it means the maintenance of legal and financial frameworks That is why I am concerned with strengthening not just German in order to be able to produce film as a cultural item. That is why but also European films as a whole. I am in agreement, together with my French colleague as well as

6 for Cultural Affairs and the Media

broadcasters airing European films in prime time. Perhaps the European Union’s television guidelines should also contain the corresponding obligation for public broadcasters to transmit European films in the original language with subtitles.

In this context I also consider important the maintenance and continued expansion of bilateral and multilateral relations within the film industry. And not just with our European neighbors but

Prof. Dr. Julian Nida-Rümelin (photo © Dörflinger) Prof. Dr. world-wide. International co-productions in particular should be made easier and access to the relevant markets also improved. This is why I am annoyed by the recently introduced financial regulations which unfortunately hinder international co-productions rather than promote them. I am very grateful to the German Federal Film Board (FFA) for organizing a symposium, together with the Erich-Pommer Institute, on the effects of the new financial regulations shortly after they came into effect. After the results have been evaluated I will, if necessary, put forward proposals to the Finance Minister for a more balanced implementation.

Another important matter is the reform of German copyright law. I am especially personally concerned with finding a fair compromise which suitably rewards the creative contribution and also pays fair due to the interests of the film industry. Germany shall, in the future, also become a more interesting location for investment in film production.

A further main plank of my policy is to improve foreign representation of German films and, in so doing, their export opportunities. To bring this about I am keen to expand, on the one hand, the role played by the Export-Union and most European Union culture ministers, to push the case with its financial basis, and on the other, the possibilities of strength- the Commission as well as within the European Parliament for ening cooperation between the film and television industries in the need for European film to receive future public funding, making joint sales efforts, particularly at foreign markets. both as a national cultural treasure and a medium promoting a European identity. In so doing, we are working on a European The Goethe Institute could also play an important role in this alternative to mainstream cinema from Hollywood. I am and I would very much like to improve its possibilities for personally very keen to see the European Commission take organizing German film weeks as well as its scope for special sufficient note of this within the framework of its regulations activities to represent film abroad. governing competition. Prof. Dr. Julian Nida-Rümelin To promote European cinema it is not just enough to provide the film industry in the member countries of the European Union with sufficient financial foundations. We must, at the same time, make all efforts to increase mutual audience interest in films from neighboring countries and, in so doing, give them more opportunity in our cinemas. Along with this I also see the public

7 Room/Film Museum Berlin (photo © Scherhaufer) FILM ARCHIVES

Film was the most important medium of the 20th century – we but it was no coincidence that it happened at this time: people cannot say as yet whether it will remain so in the 21st. It has left were beginning to take film seriously as an art form, but also as an traces behind: in people’s collective memory, and in the form of educational medium and as an historical source. film copies, screenplays, architectural set designs, film posters and film criticism. And although it has made such a deep impression The Second World War produced a caesura here as well. Looking on us, film is a fleeting art. The film material itself decomposes, back over time, the federal German archive situation during the and materials used in production have been, and still are often post-war period appears to have been something of a temporary thrown away carelessly. The task of film archives and film system. The collections of the Reich’s film archives – around museums is to save the traces of film history, but also to make 12,000 films at the end of the war – were placed at the legal them usable and show them to the public. The fact that there are disposal of the allies. It was a private initiative which led to the so many of these in the Federal Republic of Germany is a conse- foundation of the first archive of the post-war era: after the war, quence of the historical development of post-war society in the collector Hanns Wilhelm Lavies made efforts to Germany. re-assemble scattered exponents from the archives in Berlin and the western zones, and in 1947 he founded his “Archive for Film Science”, which became the “German Institute of Film A race against time Sciences” (DIF) in 1949. It was not until some time later that the two directly government archives were set up: the The history of film began more than 100 years ago, and yet Federal Archives, at that time in Koblenz, in 1954, and the State decades passed before the first public film archive began work. Film Archives of the German Democratic Republic (GDR) in East Because this happened very late, the majority of films from the Berlin during the same year. After the unification of the two age of silent films must be considered irretrievably lost. In a German states, this passed over into the Federal Archives Germany which was forcibly made to conform during the NS (Film Archive). The third large archive in the Federal Republic, regime, the film archives of the Third Reich opened on 4 February the Film Museum Berlin-Deutsche Kinemathek 1935 in the presence of Hitler and Goebbels. It was almost (SDK) – a foundation established in 1963 – also owes its basic certainly the role of film in the Nazis’ propaganda system which stock to a private collector, the film director Gerhard promoted the establishment of a central German film archive, Lamprecht.

8 FILM ARCHIVES AND FILM MUSEUMS IN THE FEDERAL REPUBLIC

It was only during the sixties that the fate of many films produced before 1945 was settled. After the allies had handed over the administration of the ”film property of the Reich“ to the Federal Republic of Germany in 1953, and the state had in turn sold the rights to two private firms, there was a threat of sale abroad after these went bankrupt. In 1966 the Friedrich-Wilhelm- Murnau Foundation was established, named after the famous German film director from the age of silent films. It administrated the rights and also some of the film stocks of the production companies Ufa, Universum Film, Bavaria and Tobis, which includes most of the classics of German silent film. The commercial rights were utilized by Transit Film in Munich, whilst the DIF in or Wiesbaden took charge of non-commercial distribution (also abroad). There is more to film than just the copy

During the seventies, under the influence of the commercial picture palaces’ collapse and the first works by young German directors, a cinema movement emerged which was oriented on film culture. In 1971, the cultural politician Hilmar Hoffmann (Frankfurt) founded the Community Cinema (Kom- munales Kino), the first cinema to be entirely in municipal hands. The slogan of these community cinemas, which were then founded in an increasing number of cities in the Federal Republic, was ”to show different films in a different way“.

But Hilmar Hoffmann dreamt of more: the cinema was to become the focal point of a communications center based around film, also inviting the public to join in discussion and analysis of films. In 1976, the city of Frankfurt acquired the

AND Filmmuseum Düsseldorf (photo © Inken Kuntze 1993) FILM MUSEUMS private archive belonging to Paul Sauerländer and used this A large number of exhibition activities began during the eighties. collection as a basis with which to establish the German Film Even earlier than the German Film Museum, the Film Museum, opened in an old villa by the Main River during 1984. Museum of the GDR (now Film Museum Potsdam) opened its doors in Potsdam during 1981. It displayed part of its excellent The political, educational ambitions of the community cinemas technical collection, and in 1983 this was supplemented by an resulted in two circumstances which have become significant for exhibition on film history before 1945 and on the history of the the film cultural scene in the Federal Republic. On the one hand, DEFA, the eastern German film company. After the Wall fell, some cinemas established their own archives, buying copies from the Film Museum Potsdam, whose personnel structures abroad, because the films were not or no longer available in the had then been altered, faced a new task: in 1994, it erected a Federal Republic. In addition, there followed an extension of the permanent exhibition on the history of Potsdam-Babelsberg as a concept of film: the collecting of film copies was no longer the production location; studio operation began there in 1912 and only focal point, but also the preservation and exhibition of Ufa and DEFA produced on the site. The documentation of this production materials. The German Film Museum in location, also as an aspect of national cultural history, is still a Frankfurt became the first film center in the Federal Republic: focal point of this museum’s activities, but the spectrum is being it collects everything connected with film, it maintains a library extended with other exhibitions, for example on the film together with the DIF, and it presents exhibits concerning film architect Alexandre Trauner (1992), Federico Fellini history in a permanent exhibition and four to five additional, (1995) or Romy Schneider (1998). changing exhibitions per year.

9 FILM ARCHIVES AND FILM MUSEUMS IN THE FEDERAL REPUBLIC

The Film Museum Düsseldorf, opened in 1993, developed sovereignty. It was not until 1978 that the regulations of the from the nucleus of community film work. Its exhibition docu- Association of German Film Archives were developed ments the collecting activities begun by the city of Düsseldorf to take over the tasks of a central film library. The three large at the end of the seventies. By contrast to Frankfurt, where the archives are full members of this association, whilst the film first part of the permanent exhibition offers a clearly subdivided, museums of Frankfurt, Munich, Potsdam and Düsseldorf are also didactic tour on the history of perception in film, the makers co-opted members. in Düsseldorf have brought together the experience and the history of film in a style resembling a mosaic, distributed through- There is no legal deposit in the Federal Republic – no duty to out various rooms on three floors; here it is possible to find the deposit current film material as there is in some other European fan cult, a look back to shadow theater, and alongside this, a countries. The Federal Archive in Koblenz concerned itself presentation of the technical collection. primarily with the collection of documentary films. Not until 1974 was the policy of collecting complementary copies of all The fourth and most recent film museum in the Federal Republic, films sponsored by the Federation introduced at the largest the Film Museum Berlin, established in the Sony Center at German archive, now holding around 150,000 titles. Nonethe- Potsdamer Platz, has had a varied history. During the eighties less, the Federal Film Archive, which must limit itself to there were already plans to present the collection of the SDK in German productions, is dependent on acquisitions or donations a museum to be housed in the former Hotel ”Esplanade“ beside in order to complete its collection. It also offers producers a the Potsdamer Platz, which was not built on at all at that time. contractually regulated deposit – long-term surrender – of the However, the fall of the Wall and tugs of war over new negative of a film. construction work on Potsdamer Platz meant that the planned museum was put on ice, and its official opening was not possible Within this system, the small archives in particular offer a until September 2000. Its permanent exhibition follows the thread guarantee that the marginal fields of film are also collected: independently produced films, advertising films, experimental films which often work using exotic formats such as Super 8 and often only exist as unique copies. The Film Museum Munich (without exhibitions, but with a community cinema) has a large collection of films by German-author filmmakers dating from the sixties until today available in its archives.

The lending conditions and prices of archives differ; but non-commercial users such as educational institutions or community cinemas are usually given reductions. Initial information may be found on the websites of German archives and museums (cf. address list p. 14), where there are usually also lists of people to contact and their e-mail addresses. Versions of Expressionist Studio Exhibit/German Film Museum Frankfurt (photo © German Film Museum) German films with subtitles are only available in very of Berlin film history; beginning with a gallery of shimmering film limited numbers in the archives. Subtitled versions in English, images, it presents the pioneers and the early divas of German French and Spanish, for example, usually in 16 mm format, are film, concentrates on the classics of silent film in Germany, and offered by the Goethe Institute Inter Nationes, which is also focuses on the years between 1933 and 1945, which meant responsible for the presentation of German culture abroad. collaboration for some and exile for others. The exhibition For information about the collection, the people to approach ”Artificial Worlds“ on the history of special effects completes are those at the individual Goethe Institutes. the tour. All the archives are making constant efforts to extend and to complete their collections. The widest range of collected objects Collections is surely to be found at the four film museums in Berlin, Düssel- dorf, Frankfurt and Potsdam. These do not only collect film The archives and museums with their different emphases guaran- copies, but also technical exhibits, photos, film programs, screen- tee diversity in collection, although German film dominates, of plays, production documents, posters and press pull-outs. course. But this widely scattered archive scene also compensates Amongst the most fascinating collected objects in the museums for a deficit in post-war film history in the Federal Republic: there are designs for costumes and scenery, for in a certain way, these is no central film library. Ultimately, plans for this failed because of anticipate the images of a film. The largest collection of this kind the Republic’s federal structure, which gives each state cultural is probably owned by the SDK with works including those of

10 FILM ARCHIVES AND FILM MUSEUMS IN THE FEDERAL REPUBLIC

Munich, is connected with Metropolis, since he has often worked on this film. His reconstruction of classic silent films like Murnau’s Der brennende Acker or Paul Wegener’s Golem and his lecturing activities have meant that in recent years those members of the public interested in film have developed a greater awareness for silent movies.

Important reconstructions by the archives in recent years include Robert Wiene’s Orlacs Hände, G.W. Pabst’s Die freudlose Gasse and Tagebuch einer Verlorenen, Lubitsch’s Anna Boleyn, Paul Wegener’s Der Golem, wie er in die Welt kam or Lotte Reiniger’s silhouette film Die Abenteuer des Prinzen Achmed.

The reconstruction of films can only succeed if several archives work together. This is not only true of the preparation of film copies, but also of research work. Traces of a film – such as its screenplay, censorship certificate or musical score, which are all important for a reconstruction – are often scattered in various places. Contact to the international association of archives FIAF, founded in 1938, is also of eminent importance, for an export version stored abroad has often proven to be more complete than the one preserved in Germany. Metropolis Theater (photo © Kinemathek Hamburg) Emigration and Holocaust (Metropolis), and Herbert Kirchhoff. The designs by the DEFA set architect The absorption of film into the propaganda apparatus of the Alfred Hirschmeier are stored at the Film Museum Nazis and the exodus of Jewish film artists after the so-called Potsdam, drawings by (Das Cabinet ”take-over of power“ is the heaviest burden of guilt to be borne des Dr. Caligari) and () by German film. An investigation into the consequences of in Frankfurt. The archive material is available for viewing in the National Socialist film policy is one of the most important museums by previous arrangement, and the museums lend out originals for exhibitions by acknowledged institutions at home and abroad; for all other users (for example for book reproductions), slides or photos may be made in exchange for a certain fee.

The museums have not limited their acquisition activity to the Federal Republic. The estates of directors and actors in parti- cular are often kept with their heirs in other countries. In 1993, the SDK acquired a superlative collection for five million marks: the estate of the actress Marlene Dietrich, which had been kept in various storage houses in Europe and the . The “Marlene Dietrich Collection Berlin” now administrates this unique collection illustrating a life whose highlights are shown by the Film Museum Berlin. The Collection first presented parts of the estate in the exhibition “Kino*Movie*Cinema” in Berlin during 1995, after this as an individual exhibition in Bonn and Rome, and from 1997 onwards, a small section went on its travels as a touring exhibition to the Goethe Institutes. In 1997, the German Film Museum Frankfurt was able to take over the estate of Curd Jürgens, which had been housed in the south of France, where the star lived until his death. In Frankfurt, a focus on (west) German post-war film has emerged together with the Archive – the film documentation of the Berlin producer. Editing Room (photo © Film Museum Munich)

Restoration themes for the archives and the museums in Germany – at least this has been the case during the last two decades. The SDK in and reconstruction Berlin has collected together the probably largest collection of materials on German film emigration, in particular to Hollywood. During this year’s Berlinale, film historians from all over the world Its nucleus are the estate and business documents of the film waited excitedly for one screening: the “premiere” of Fritz agent Paul Kohner, who was the first person approached by Lang’s silent film classic Metropolis (1927). Several archives many emigrants during the Nazi period. had worked together on the reconstruction of this under the overall control of the Friedrich-Wilhelm-Murnau In 1987, the German Film Museum Frankfurt assembled Foundation. Within the German archive scene, the name the touring exhibition “From Babelsberg to Hollywood: Film Enno Patalas, the former director of the Film Museum Emigration from ”, which was a great success in

11 FILM ARCHIVES AND FILM MUSEUMS IN THE FEDERAL REPUBLIC

Zurich, Los Angeles and . The most comprehensive Frankfurt, and was established in 1992. This group has taken on collection of films whose production involved German film the task of documenting film traces of the genocide perpetrated emigrants in Hollywood is available in the Film Library on the . Hamburg. These film copies, around 600 in number and mostly acquired from collectors in the USA, present the entire range of work in emigration: they include films by famous Lively film culture directors such as Lubitsch, Siodmak, Dieterle or Lang and titles such as Casablanca (many emigrants worked on its The film museums and the film archives in Germany are indispens- production), but also films completely unknown today (and here) able if we are to maintain 20th century film heritage. That should – the archive has acquired these because, for example, Curt be clear to everyone by now. But what is often forgotten is that Bois played a minor role. they also, particularly at a time of financial cuts, help to maintain a lively film culture in the Federal Republic. Film historical retro- spectives can only be realized with their support and the use of their collected treasures. Since 1977, for example, the Berlin Film Festival has made use of assistance given by the SDK, which arranges and organizes the festival’s annual retrospectives.

But the activities are not only historically oriented, by any means. Every two years, the German Film Museum arranges the International Children’s and Young People’s Film Festival ”Lucas“,

Technical Collection (photo © Film Museum Potsdam Technical with its “Murnau Short Film Prize” the Friedrich-Wilhelm- Murnau Foundation honors current short format productions, and in Wiesbaden the festival ”GoEast“, presenting films from the former socialist countries, was organized for the first time this year by the German Film Institute (DIF).

Publications often appear about festivals, film series, retrospectives and exhibitions. Today, this appears to be a matter of course, but especially during the seventies and eighties, the film institutions functioned as a motor for serious The archives also participate in the working group “Cinematog- film journalism, which was only just beginning at that time. raphy of the Holocaust”, which is supported by the DIF, CineGraph Hamburg and the Fritz Bauer Institute in

Stefan Drößler, Claudia Dillmann, Hans Helmut Prinzler, Heiner Roß

12 FILM ARCHIVES AND FILM MUSEUMS IN THE FEDERAL REPUBLIC

possible to find all the decisions made by the Head Office of Film Censorship in Berlin from 1920 to 1938. These certificates are first-rate documents of cultural history, for they not only give us an insight into the judgement practice of censorship authorities, but also information concerning the way in which people imagined the dangerous effects Film Storage (photo © Friedrich-Wilhelm-Murnau Stiftung) of the mass medium film during the twenties and thirties. In the EU- sponsored project “Collate”, the DIF is working together with other European archives in order to research into the management of large amounts of text in the Internet in Digital future connection with traditional scientific processing methods.

In 1999, the Association of German Film Archives Digital processing of material has almost become a matter of (Kinemathekenverbund) presented a data bank on CD- course in the restoration of films today. The film images are ROM which brings together basic data concerning 17,858 German scanned, processed digitally within the computer and then re- feature films. The 100 Most Significant German Films – a exposed onto film. But digital recording formats are also entering selection made by means of a questionnaire among film historians the field of feature film, and in the long or short term, cinemas – are documented with selected material and information will be equipped with digital projection technology. For a long concerning the location of the copy; documentary and short films time, the Federal Archives have had to face the fact that television are now to be registered as a follow-up project (cf. new KINO producers demand excerpts in digital form. But keeping digital series “The 100 Most Significant German Films” p. 38). material in archives means that we have to contend with a problem: up until now, storage media such as discs, tapes, CDs Digital technology and modern communication technologies have and DVDs have only limited durability, not in the least comparable been part of the archivists’ work for some time now. They have with the lifetime of traditional film material. As yet, the archives made faster access to materials and data bases possible. In 1999, have found no solution to the storage of digitally moved the German Film Institute – DIF placed its most advanced images. But they are aware of their tasks for the future. archive with regard to information technology within the Association of German Film Archives - its censorship Rudolf Worschech project – onto the Internet. Under the Institute’s address, it is

Bärbel Dalichow, Karl Griep, Dr. Sabine Lenk

13 DATA AND ADDRESSES CONCERNING THE MOST IMPORTANT ARCHIVES

Federal Archives/Film Archive, Berlin and Koblenz Friedrich-Wilhelm-Murnau Foundation, Wiesbaden

The largest German archive with over 200 employees and two copy As well as films from the basic collection – the former film property of the works of its own in Berlin-Wilhelmshagen and Koblenz. It has a collection Reich –, the foundation also owns copies of the post-war productions by of 148,000 titles (21,000 feature and 127,000 documentary films as well as Bavaria and Universum Film. The film collections are supplemented by ”Wochenschau“ programs). In the near future, the archive will not only over 250,000 photos, posters and advertising materials. receive a new data bank facilitating exchange with archives in the USA and Australia, but also new storage area for its highly inflammable nitro-films, Director: Peter Franz of which around 77,000 reels are still waiting to be copied. The Federal Technical Department: Gudrun Weiss Archive-Film Archive also has a large collection of posters (22,650 Kreuzberger Ring 56 · D-65205 Wiesbaden examples), photographs (over half a million) and publications (c. 30,000). phone +49-6 11-9 77 08-0 · fax +49-6 11-9 77 08-19 The archive distinguishes between commercial and non-commercial bor- www.murnau-stiftung.de · email: [email protected] rowers in its lending practice; a quarter of the users come from abroad. Film Museum in the Municipal Museum Munich Director: Karl Griep Fehrbelliner Platz 3 · D-10707 Berlin Besides a comprehensive collection on New German Cinema, the film phone +49-18 88-77 77-0 · fax +49-18 88-77 70-9 99 archive (approx. 4000 copies and negatives) also has collections of www.bundesarchiv.de · email: [email protected] classical German and Russian silent films and avant-garde films dating from the twenties. The collection of Stalin films is one of the biggest in western Europe. The museum, which has restricted itself to the collection of film copies to date, also collects Munich productions in its archives and has, for example, all the films by Vlado Kristl, Jean-Marie Straub, Roland Klick and . In the year 1998, the film museum took over the estate of Orson Welles. The film museum lends out its copies to a limited extent, for retrospectives and non-commercial use – for example it is pos- sible to borrow the silent film classics ”Der Golem, wie er in die Welt kam“ and ”Die freudlose Gasse“.

Director: Stefan Drößler St.-Jakobs-Platz 1 · D-80331 München phone +49-89-23 32 23 48 · fax +49-89-23 32 39 31 www.stadtmuseum-online.de/filmmu.htm email: [email protected]

German Film Museum Frankfurt Library of the German Film Institute/German Film Museum (photo © Deutsches Filminstitut) Over 5,000 copies are stored in the film archive of the museum, the focus being on animation film and the classical film avant-garde of the twenties German Film Institute – DIF, Frankfurt and Wiesbaden (Fischinger, Ruttmann, Richter). The film archive also keeps the most comprehensive national collections concerning the brothers Diehl and the The focal points of the collection of 10,000 German and foreign feature, silhouette filmmaker Lotte Reiniger. The institution presents its technical documentary and short films are silent films from Germany, German collection in an accessible depot, the non-film archive preserves 800,000 productions after the Second World War and outstanding international photos, 25,000 posters and a comprehensive collection of graphics. works. The DIF, which is supported by both government and private en- A speciality of this museum is its collection of music related material, terprise, and whose documentation section resides in the building of the including sound tracks, music scores and sheet music. German Film Museum, has the largest text and photo archive (1,5 million exponents) in the Federal Republic. Director: Walter Schobert Archive & Exhibits: Hans-Peter Reichmann Director: Claudia Dillmann Schaumainkai 41 · D-60596 Frankfurt Schaumainkai 41 · D-60596 Frankfurt phone +49-69-21 23 88 30 · fax +49-69-21 23 78 81 phone +49-69-9 61 22 00 · fax +49-69-62 00 60 www.deutsches-filmmuseum.de www.filminstitut.de email: [email protected] email: [email protected] Film Archive: Michael Schurig Film Archive: Nikola Klein Eschborner Landstr. 42-50 · D-60489 Frankfurt Kreuzberger Ring 56 · D-65205 Wiesbaden phone +49-69-78 37 01 phone +49-6 11-9 70 00 10 · fax +49-6 11-9 70 00 15 email: [email protected] email: [email protected]

Film Museum Berlin – Deutsche Kinemathek, Berlin

The Deutsche Kinemathek (SDK), a foundation financed by the city-state of Berlin and the Federation, has a collection of around 10,000 German and foreign films which are stored in its various branches. The SDK owns what is probably the most comprehensive collection of materials related to film in the form of set designs, costume designs, estates, film programs, etc. Special collection areas are documentation concerning film exile (Paul Kohner, , Fritz Lang), special effects and the estate of the actress Marlene Dietrich. The remaining collections consist of around 1 million photos and 20,000 posters; the collection of screenplays, with 30,000 exponents, is the largest in Germany.

Director: Hans Helmut Prinzler Archive: Werner Sudendorf Distribution: Holger Theuerkauf Potsdamer Str. 2 · D-10785 Berlin phone +49-30-3 00 90 30 · fax +49-30-30 09 03 13 www.filmmuseum-berlin.de Romy Schneider Exhibit (photo © German Film Museum Frankfurt) email: [email protected]

14 DATA AND ADDRESSES CONCERNING THE MOST IMPORTANT ARCHIVES

Film Museum Düsseldorf Director: Heiner Roß Dammtorstr. 30a · D-20354 Hamburg The archive – 2,600 titles to date – collects film material on the history phone +49-40-34 23 53 · fax +49-40-35 40 90 of film in Düsseldorf, productions by filmmakers from North Rhine- email: [email protected] Westphalia, productions by the winners of the Helmut-Käutner Prize, and feature films of the DEFA. During the last year, the film archive was Film Library in the Ruhr – Film Archive for the Region able to move into a new storage area with air-conditioning. Here space is also available for other archives from the region (for example company Collection of productions from the Ruhr area, especially industrial films. archives) to store their films. The non-film department has over 200,000 photos and 20,000 posters. Director: Paul Hoffmann Amtsgerichtstr. 32 · D-47119 Duisburg Director: Dr. Sabine Lenk phone +49-2 03-8 99 03 · fax +49-2 03-8 83 09 Schulstraße 4 · D-40213 Düsseldorf phone +49-2 11–8 99 22 56 · fax +49-2 11-8 99 37 68 CineGraph – Hamburg Center for Film Research www.duesseldorf.de/kultur/filmmuseum Although CineGraph does not collect film copies or other materials, it Film Museum Potsdam collects data. The researchers in Hamburg have put together the most comprehensive data bank on German cinema. The archive, which also has an excellent technical collection, collects mainly evidence of GDR film history and film copies of relevant Director: Hans-Michael Bock productions. Besides the designs by Hirschmeier, the film museum also Gänsemarkt 43 · D-20354 Hamburg keeps estates of other GDR artists, for example Werner Bergmann. phone +49-40-35 21 94 · fax +49-40-34 58 64 At present a collection of films which no longer have German distribution www.cinegraph.de · email: [email protected] is being set up. Oberhausen International Short Film Festival, Archives Director: Dr. Bärbel Dalichow Archive: Elke Schieber The festival has acquired the prize-winning films since it began, and has Marstall · D-14467 Potsdam therefore been able to build up an archive of over 1,000 film titles. phone +49-3 31-2 71 81-0 · fax +49-3 31-2 71 81-26 The archive combines its films to create programs. Fee for use: www.filmmuseum-potsdam.de Euro 30,- for films under 30 mins., Euro 55,- for longer films. email: [email protected] Director: Lars Henrik Gass Film Library Hamburg Grillostr. 34 · D-46045 Oberhausen phone +49-2 08-8 25 26 52 · fax +49-2 08-8 25 54 13 Besides its collection concerning film emigration, the archive also receives www.kurzfilmtage.de · email: [email protected] copies of the films sponsored by Hamburg Film Promotion; it has a large collection of Griffith films and the complete oeuvres of the Hamburg filmmakers Hellmuth Costard, Heinz Emigholz and Franz Winzentzen.

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[email protected] homepage: www.eaglegl.com Beichstraße 8, D - 80802 München, Germany Phone: (89) 391 425 Fax: (89) 340 1291 Director’s Portrait Angela Schanelec

Angela Schanelec was born in Aalen, Baden-Württemberg in 1962. From 1982 to 1984, she trained as an actress at the Academy of Music and Performing Arts in Frankfurt. After this, she was engaged by several theaters, including: the Schauspielhaus in Cologne, the Thalia Theater in Hamburg, the Schaubühne in Berlin and the Schauspielhaus in . In 1990, Angela Schanelec decided to finish her career as an actress and applied to the Academy of Film and Television in Berlin (dffb). Here she studied Direction until 1995. During her studies, she made the short films Schöne gelbe Farbe. Weit entfernt (1991), Prag, März 1992 (1992) and Über das Entgegenkommen (1993). Angela Schanelec’s first feature film The Summer I Stayed in Berlin (Ich bin den Sommer über in Berlin ge- blieben) (1994) already shows the city of Berlin as it is perceived by her characters. This is also true of her graduation film My Sister’s Good Fortune (Das Glück meiner Schwester, 1995). In 1998, she made Places in Cities (Plätze in Städten), which was shown in the Cannes section “Un certain regard” during the same year. Since then, she has completed Passing Summer (Mein langsames Leben, 2001), an ensemble film about people in their mid-thirties living in Berlin, which was screened at the Forum of this year’s Berlinale and will be opening in German cinemas in September 2001. UNSWERVING COMMITMENT Form as a framework within which life finds a place – Angela Schanelec’s films are characterized by a paradox. On the one hand, with respect to form, her works are the most self-contained and – in the best sense of the word – self-willed on the entire German film scene. However, her intrinsically quiet takes, together with the hypersensitive sound track, lead to the development of an immense openness; they cap- ture atmosphere and everyday moments which set forth reality almost in passing. Critics often see Angela Schanelec, who admits to taking Maurice Pialat and as her models, in close connection with French cinema. Schanelec herself reacts soberly to this French comparison: “My films come about as the result of observation and the way I feel about reality, that is all”.

Schanelec’s new film Passing Summer (Mein langsames Leben) follows a handful of people, aged around thirty, through a summer and an autumn in Berlin. Basically, “follow” is the wrong word, for usually the camera remains static and constitutes the section where life is taking place at a specific time. The characters sit in a café, in the kitchen or a restaurant, by a lake and in the park. They talk about their work and their holidays, about marriage and whether it is okay to simply earn some money in your profession rather than try to change the world. “In this film there is no conflict in the classical, dra- matic sense”, says Schanelec, “I was interested in what these young people do with their lives. It is a matter of the familiar, of a normality which each person handles in a different way.”

Normality, in Schanelec’s work, is conversations which appear to have been filmed from the next table, scenes in which people’s talk is confused and they interrupt each other, making tense digs at the others and sitting in troubled silence. However, the Angela Schanelec (photo © Schramm Film 2000)

17 Director’s Portrait Angela Schanelec natural quality of the dialogue here is not the result of improvi- puberty and everyday life in a wintertime Berlin. “In both films, sation, but of precision work with the actors, whereby I remain very close to the characters. I wanted to portray the Schanelec can of course call upon her own experience. city as you experience it as an inhabitant: as a constant, vague presence, as a murmur, as a city per se.” Places in Cities Basically, her first career is already behind her: she trained as an (Plätze in Städten) was the only German contribution to be actress and worked on stage for seven years, at such well-known shown in the Cannes section “Un certain regard” in 1998. theaters as the Hamburg Thalia Theater, the Berlin Schaubühne and the Schauspielhaus in Bochum. “A time came when the chap- Together with her colleague from student days, Thomas ter ’acting‘ was over for me, I wanted to make films, I knew that Arslan, Angela Schanelec is one of only a handful of young with great clarity and intuition.” German directors who continue unswervingly along their own paths, repeatedly seeking to give form to reality – with films that From 1990 onwards, Schanelec studied Direction at the really do succeed in accompanying life along part of the way. German Academy of Film and Television (dffb) in Berlin. Her Films which quite incidentally recount the fluctuation, radical graduation film My Sister’s Good Fortune (Das Glück changes and existential decisions faced by an entire generation. meiner Schwester) was already something of a monolith on the film scene. It tells the story of two who love the same man. The presence of the city of Berlin, which exists on the sound Katja Nicodemus spoke to Angela Schanelec track as uninterrupted traffic noise, forms a contrast to the almost physical proximity to the characters.

In her next film, Places in Cities (Plätze in Städten), Schanelec concentrated fully on the perceptions of her nine- teen-year-old protagonist: first sexual experiences, the reticence of

Director’s Portrait Michael Verhoeven

PROGRESSION AND PERSISTENCE In many aspects, he is an exception to German cinema: Michael ground, as his father, alongside Lilli Palmer, took on a leading Verhoeven first studied Medicine and became a doctor, just like role in the film. ”At that time, when most filmmakers were filming the lyricist Gottfried Benn or the songwriter Georg their own stories, no one understood it. But my film had a lot to Ringsgwandl. In the 60s, when young German filmmakers do with the present. I was concerned not only with a failed demanded innovation of the German cinema, they considered marriage, but also with a sham existence – that was a current themselves a fatherless generation. Michael Verhoeven’s theme.“ father, (not to be confused with the Dutch cineast of the same name), had been a recognized actor and His Vietnam film o.k. also contributed to his status as an excep- director since the 30s. And his son stood in front of a camera tion. Shown in the official competition at Berlin in 1970, this was at an early age, in Kurt Hoffmann’s Das fliegende Klas- the film that lead to a break within the competition. The film senzimmer and ’s Marianne de ma caused quite a controversy among the members of the jury, and jeunesse. Was Michael Verhoeven then less ”fatherless“ when (then jury president) pressured the festival than his colleagues? ”I too belong to the fatherless generation,“ direction to ban the film from the competition, other directors says Verhoeven, ”the films my father made were not the ones I pulled their films out of the official running, resulting in a complete would have wanted to make. For my colleagues, I was not only cancellation of the festival. the son of a director, I was also already married to a woman who had a contract with Columbia – at a time when ’Hollywood’ was Michael Verhoeven is one of the few German directors to a negative concept.“ have received an OSCAR nomination, for The Nasty Girl – a film that brought its director and author a series of other With the Strindberg adaptation Paarungen, which was his awards, including the Critics’ Award in New York, a Golden Globe cinematic debut, Michael Verhoeven, who felt a sense nomination and the BAFTA Academy Award for Best Foreign of belonging to the 1968 generation of student revolt and Language Film. film d’auteur, seemed to be walking on comparatively sure

18 Director’s Portrait Michael Verhoeven

Michael Verhoeven was born in 1938 in Berlin, the son of German actor and director Paul Verhoeven and the actress Doris Kiesow, and is married to the actress . In the 50s, Verhoeven gathered experience as a cinema and theater actor. He then studied medicine and completed the state medical examination to become a qualified doctor. In 1967, one year after completing his medical studies, he directed his first feature film, Paarungen, an adaption of Strindberg’s Totentanz. Since then, he as continuously worked in film and television, and occasionally for the theater, as a screenwriter and director. He received his first in 1971 for o.k. – the film that initiated the controversy in 1970 at the Berlinale. He received further awards for The White Rose (Die weiße Rose, 1982), The Nasty Girl (Das schreckliche Mädchen, 1989/90) and My Mother’s Courage (Mutters Courage, 1995/96), including a Silver Bear in Berlin for Best Direction, a New York Critics’ Award, and a Golden Globe and OSCAR nomination for The Nasty Girl. My Mother ’s Courage won the Bavarian Film Prize and the Award of the City of Jerusalem for Best Film. His most recent film Enthüllung einer Ehe (2000) won a FIPA D’ARGENT in the feature film section and a FIPA D'OR for Best Leading Actor at the FIPA television festival in Biarritz. Verhoeven is currently working an a new cinema project, a film adaptation of Laura Waco’s novel Von Zuhause wird nichts erzählt.

Verhoeven is also one of the very few directors who began his career in the 60s and has been able to continually work up to today. In the meantime, he has made 13 films for the cinema and more than 20 for television. From the very beginning, he has had the courage to address uncomfortable topics and has proven a social conscience: ”With my work, it has always been important to me that political concerns become private ones, for the two cannot be separated.” As a result, such films as A Terrific Exit (Ein unheimlich starker Abgang, 1973) appeared, a passion play about a broken young woman, or MitGift (1975), a wicked satire about a murderous society with a superficial shine, or Killing Cars (1985), ”a green Michael Verhoeven (photo © Sentana Filmproduktion) Michael Verhoeven action thriller that came out too early because, at that time, no one gave any thought to whether or not other types of energy were more environmentally friendly.“

Again and again, Michael Verhoeven looks for the critical analysis of National Socialism and its consequen- ces: The White Rose, The Nasty Girl and My Mother’s Courage are but a few of his exceptional works.

Often Verhoeven puts women in the foreground of his films: ”That probably has to do with my experience that in life, very often the women carry the burden. I don’t expect a film to change society, but I do believe that the sum of activities of individuals can make a diff- erence. A film can only be a building block.“

Hans-Günther Pflaum spoke to Michael Verhoeven

19 www. german- cinema. de/

INFORMATION ON GERMAN FILMS.

GERMAN CINEMA

Export-Union des Deutschen Films GmbH Sonnenstrasse 21 · D-80331 Munich · phone +49-89-59 97 870 ·fax +49-89-59 97 87 30 · email: [email protected] World Sales Portrait german united distributors

Established in 1997 Foreign offices Representatives in Italy, France, Spain Managing Director Silke Spahr Additional contact Rosemarie Dermühl (Bavaria Media), Ulla Lamas-Torres (Studio Hamburg) Main fields of activity World-wide distribution of German television programming (TV- movies, miniseries, collections, drama series, children’s programming, documentaries, wildlife, music) with emphasis on France, Italy, Spain, Eastern Europe. Regular attendance of the following film and TV markets NATPE, MIPDOC, MIP-TV, Moscow Teleshow, DISCOP, MIPCOM JUNIOR, MIPCOM, German Screenings (joint organizer with TELEPOOL and ZDF Enterprises) Number of titles on offer 15,000 Percentage of German titles on offer 100% Buyers include TF1, RAI, SRG DRS, MTV Networks, RTV Slovenia, AQS/Nova TV, Prima Plus, MTV3 Finland, NOS Most well-known current titles on offer Scene of the Crime (Tatort), The Investigator (Der Fahnder), Schimanski’s Return (Schimanski), Expeditions into the Animal World (Expeditionen ins Tierreich), Beat Club Best-selling titles currently on sale Beast in the Lake (Das Biest am Bodensee, TV-movie), Force Majeure (TV-movie) Address german united distributors Programmvertrieb GmbH · Richartzstr. 6 - 8a · D-50667 Cologne phone +49-2 21-92 06 90 · fax +49-2 21-9 20 69 69 · email: [email protected] UNITED THEY SELL

So you’re looking to buy German television programming in quality and/or quantity. Who you gonna call? Forget Ghostbusters and try german united distributors instead!

”We were formed in 1997,“ says managing director Silke Spahr, ”as a joint venture between the two public broadcasters WDR and NDR and two of the largest production companies, Studio Hamburg and Bavaria Film. The idea was to pool their program stocks to meet the demand from those many broadcasters who want to buy packages.“ Just to give one example of how much easier that has made life for all concerned: Hit German crime series Tatort (Scene of Crime) is an ARD production, where the programs are made by many of the mem- ber broadcasters.

Previously, buyers first had to find out who to talk to. Now they come straight to german united. For its owners and other members, such as Radio and Hessischer Rund- funk, german united guarantees extensive representation and market organization, selling their programming in Asia, Russia, South America, or wherever on a scale far beyond what they could have achieved representing themselves.

The company, although ”always open to other independent pro- ducers and broadcasters,“ says Spahr, sells predominantly ARD programming: ”Our four partners produce a very large volume and our priority is to distribute it. And you only have to look into their archives to see how much material there is. Who’d have thought ten years ago that the music show Beat Club would become an international sales success?“

Being the sales arm for public broadcasters means ”dealing with subjects which are not always very commercial,“ says Spahr.

Not that she means they don’t sell, but rather in terms of subject material, such as Schande (Shame) which was about child abuse, or the way the subject is tackled. She cites Die Polizistin Silke Spahr (The Policewoman).

Andreas Dresen’s TV-movie won a German Emmy, the Adolf Grimme Award, for providing, says Spahr, ”another theme and view; about her life and personal conflicts. She doesn’t charge in

21 World Sales Portrait german united distributors waving her gun! It’s a reflective examination of people and how Specific production responsibilities are shared between the four they deal with their situations.“ partners: NDR for wildlife and music, WDR for documentaries, both Studio Hamburg and Bavaria Media for fiction. In Because german united works closely with buyers, it is able to fact, of Germany’s ten most successful fiction productions last evaluate their needs and then discuss with its shareholders and year, five came from Bavaria Film and Studio Hamburg. The suppliers how best to place the product. ”That’s our strength,“ threads all come together under the roof of german united. says Spahr. ”As a brand,“ says Spahr, ”german united sells very well. This two way communication is the key to the company’s German programming enjoys a reputation for very high produc- continued success, as Spahr is also able to tell her shareholders, tion values and a way for skillfully conveying difficult material. for example, ”This particular customer is looking for action-orien- That’s something the public broadcasters are especially proud of; ted programming“ and if it’s not in the pipeline or the archives excellent research on contemporary subjects.“ german united can then acquire it, ”either from producers or by entering into co-production.“ And Studio Hamburg and With regard to new media and new ways of selling, while the Bavaria Film have themselves been involved in co-productions Internet is the way of the future, ”the technology is a long way for years. off. It’s no substitute for everyday distribution activities, visiting a client and showing them tapes, making personal contact.“ For independent producers, german united evaluates the pro- gram, turning it over to whichever genre department is most rele- Spahr, who grew up and studied law in Hamburg, started her vant; Fiction, Children’s, Documentaries, Wildlife or Music. distribution career at Studio Hamburg. How she came to ”We’ve invested once or twice in production,“ says Spahr, ”and german united was merely a matter of ”being in the right we still do. But it’s basic. Producers should contact us once the place at the right time! It was a great experience to watch this financing is in place. We’ll talk as long as there aren’t any large joint vision unfold. It was great fun to watch it work and, thank financial holes to be filled. Then we’re happy to say what we think God, it has worked!“ it could fetch and where it could be sold. But we prefer to invest our money in sales, not production, and rarely make presales.“ SK

World Sales Portrait Progress Film-Verleih THE PROGRESS REPORT Last August, Progress Film-Verleih celebrated its fiftieth Berlin Children’s Film Festival. He has also directed and written birthday, making it Germany’s oldest and still active film TV-movies such as Lieferung nach Hause for ZDF and co- distributor. authored the three-part Tanz auf dem Vulkan for ARD. Very much coming from the creative side, Haase also produced “Progress’ history is a rich one,” says managing director Prof. such films as Das Spinnennetz, Johannes Passion, Jürgen Haase. “Our original owners were the DEFA- Nikolaikirche, Pinky und der Millionenmops, Filmverleih and Sovexport and, in 1950, Progress took over all Feuerreiter and Mario und der Zauberer. And the pro- DEFA film rights for the then German Democratic Republic fessor title? He is a visiting lecturer at the ”Konrad Wolf“ Academy (GDR), as well as distributing them internationally.” of Film & Television in Babelsberg and Bulgaria’s Film Academy and School of Art in Sofia. In November 1989 the Berlin Wall fell. Progress was taken over by the Treuhand, the government privatization body, and Fifty-one years on, Progress is involved in the world-wide sales, faced an uncertain future. theatrical and excerpt distribution of some 10,000 films, com- prising 800 DEFA features, 3,000 features from Eastern Europe, “I represented one of the negotiating companies, Tellux.” says and several thousand animated and documentary films; an Haase. “Together with Drefa GmbH and Kinowelt, we extensive archive with the emphasis on the GDR; “forty-four years formed the DEFA-Foundation, which cleared the way for of this country and its social system,” says Haase. Two years ago, privatization. The foundation has the rights and we have a Progress signed a long-term exclusive contract for the world- long-term contract to exploit them. I became managing director wide rights to Vietnam’s film archives. in 1997.” Handling a treasure trove of film history calls Born in 1945, Haase studied at the German Film & Television for skilled marketing Academy (dffb) in Berlin. He is especially proud of his - director-producer credit on the German-Turkish co-production, “The contemporary factor always plays a role,” says Haase. Gülibek which won, among others, the first prize at the 1984 “For example, ten years after the fall of the Wall or reunification.

22 World Sales Portrait Progress Film-Verleih

Established 1950 Managing Director Prof. Jürgen Haase Additional contact Christel Jansen (Head of Sales), Brigitte Paetsch, Karl-Heinz Mandler (Excerpts) Main fields of activity World-wide distribution of theatrical and television rights for films of all formats and genres, with emphasis on DEFA productions Regular attendance of the following film and TV markets Berlinale, MIPCOM Number of titles on offer 800 DEFA features, 3,000 features from Eastern Europe and several thousand animated and documentary films Percentage of German titles on offer 95 % Buyers include ARD and the Third Programs, ZDF, 3sat, KiKa, VOX, ARTE, Planet Multithématique (France), RAISAT (Italy), Alcine Terran (Japan) Most well-known current titles on offer Jacob the Liar (Jakob der Lügner), The Kaiser’s Lackey (Der Untertan),The Story of Little Muck (Die Geschichte vom Kleinen Muck) Best-selling titles currently on sale Pinky and the Million-pug (Pinky und der Millionenmops), Mask of the Desire (Die Braut), Fueling the Flames of Love (Feuerreiter), The Pharmacist (Die Apothekerin), Trains ’n Roses (Zugvögel) Address Progress Film-Verleih GmbH · Burgstr. 27 · D-10178 Berlin · phone +49-30-24 00 32 25 fax +49-30-24 00 32 22 · www.progress-film.de · [email protected]

Films like Nikolaikirche are perfectly suited to that. But we also have some great actors, such as , Hildegard Knef, Armin Mueller-Stahl, Kurt Böwe and Winfried Glatzeder and directors such as , Heiner Carow, Rainer Simon, Konrad Wolf and Kurt Maetzig. There are always occasions to screen their films.“ When ’s Goya was released last year Progress was able to piggy-back its Goya film by Konrad Wolf.

Progress also works closely with the Goethe Institute and other cultural institutions, which promote and culture, to organize retrospectives. One such retrospective in involved more than 120 films and lasted three months.

Each year, Progress licenses some 30-40 films within the German-speaking territories, as well as to the Czech Republic, Belgium, France, Italy, Spain, , the UK, Slovakia, and further afield to Japan, Mexico and the Philippines.

“Our emphasis, though, is on Europe,” says Haase. “We’re represented in the US by Icestorm, the video distributor, but it’s a very difficult market.” As part of efforts to expand there he cites the DEFA library formed jointly with Amhurst University: “It’s a platform for young people to study and come into contact with German film.”

Children’s films also feature large

“We already have more than 200 from DEFA and every couple of years we acquire another one or two. The latest is Pinky (2000) which had its first sales at this year’s Berlinale,” says . “We Haase Prof. Jürgen Haase distribute or acquire children’s films which have a very humanist approach and are very constructive, not deconstructive.”

Progress also has a number of recently-produced adult-skewed “You need to take a long-term view and say this film has long-term features such as Zugvögel, Die Braut, Männerpension, prospects and can be marketed as long as there is a feeling for film Feuerreiter, Liebe deine Nächste and Die art and culture,” avers Haase. “And we have the decisive advan- Apothekerin. tage that we have the rights for an unlimited period. There’s no sell-by date.” “We don’t co-produce or co-finance but if we like the script or cast,” says Haase, “we’re ready relatively early to offer a mini- SK mum guarantee to acquire a film.”

And Progress takes care of its product. The Story of Little Muck, for example, has been seen by 13 million people over the last twenty years.

23 Producer’s Portrait UFA Film & TV Produktion

Taken over in 1964 by the Bertelsmann Group when it purchased the UFA name and created the production group operating under that label, UFA Film & TV Produktion has developed over almost 40 years into a respected address for the production of popular series and high quality TV movies. UFA productions range from such TV movies as The Policewoman (Die Polizistin ) by Andreas Dresen or The Sandman (Der Sandmann) by Nico Hofmann through the daily soaps Good Times – Bad Times (Gute Zeiten, Schlechte Zeiten) and Forbidden Love (Verbotene Liebe) to weeklies like Behind Bars (Hinter Gittern) and such crime series as Balko and SOKO 5113 (and SOKO Leipzig). Together with its affiliates UFA Fernsehproduktion, UFA Film Production, Westdeutsche Universum-Film in Cologne, UFA Film Munich, UFA Film- & Medienproduktion Leipzig, Grundy UFA, UFA International and UFA Entertainment, the company became part of the holding of Luxembourg’s CLT-UFA in January 1997 and is now part of the RTL Group which was created following the merger with the Pearson Television Group in 2000.

UFA Film & TV Produktion GmbH Dianastr. 21 · D-14482 Potsdam phone +49-3 31-7 06 04 02 · fax +49-3 31-7 06 04 09 · www.ufa.de · email: [email protected] TIME OF NEW DEPARTURES – UFA Film & TV Produktion Norbert Sauer (photo © Ufa Film & TV Produktion)

Switch on a television in Germany and there is a very likely chance movies, soap operas, series, light entertainment or feature length that the program showing at the moment is one created by UFA movies, making UFA the clear leader in the German TV market, Film & TV Produktion. Indeed, nearly every channel, both ahead of such competitors as the Bavaria Group, Studio Hamburg public and private, airs UFA productions, whether they be TV and ndf Neue Deutsche Filmgesellschaft.

24 Producer’s Portrait UFA Film & TV Produktion

However, being market leader doesn’t mean that UFA plans to German company produced its first project with Warner, rest on its laurels, since the production house has to contend with Disaster At The Mall, with Warner Bros. as part of a the competing attentions of reality and quiz formats and the fact long-term framework agreement. that the broadcasters have either drastically reduced their program production budgets (e.g. RTL and ProSieben) or Moreover, preparations are now underway for a two-parter on have changed their commissioning policies to favor affiliated the life of 1930s screen diva Zarah Leander to be made for production companies. Swedish Television from a script by German writer Peter Steinbach (Heimat) who signed an exclusive deal with New possibilities UFA in early 2001.

However, as UFA’s executive in charge of production Norbert ”The project had been developed by Peter Steinbach with the Sauer points out, the fusion last year between CLT-UFA and Swedish TV channel, and then as we have this exclusive deal, he Pearson has opened up a number of new possibilities for UFA came to see if we would be interested in being involved“, Sauer Film & TV Produktion. recalls. ”Since 80% of the action is set in Germany and Babelsberg, the Swedish station had already been thinking of working with a ”UFA now has partner companies in almost every European German production company. Shooting is scheduled to begin country as well as North America and Australia“, Sauer declares, in late autumn but this depends on getting the right actresss to ”and we have a link to the other European markets through the play Zarah Leander“. person of UFA managing director Wolf Bauer who is respon- sible for the European activities except for the UK“. Foray into film

While Sauer doesn’t expect UFA as a German company to Television may be the mainstay of UFA's activities, but there is suddenly start producing for these other markets, ”one can ask always a hankering by the company to dip its toe in the high-risk how can one cooperate with the sister companies to cater for waters of feature film production. Indeed, it is not for nothing that the markets together, i.e. by developing formats which can travel the company is based in spanking new offices in Potsdam- world-wide. Areas, in particular, where this would work are quiz Babelsberg across the road from the legendary Babelsberg Studios and reality shows and daily series whereas the fictional area is where the old Universum Film-AG (Ufa) established a European more nationally structured and is likely to stay that way for the cinematic tradition with such names as Fritz Lang, Billy time being“. Wilder and Marlene Dietrich and such film classics as The Blue Angel, Münchhausen and Metropolis, among European co-productions many others.

The bulk of UFA’s fictional output may thus remain nationally At the moment, Sauer has three feature projects in development based in the future, but another track that can be developed which are set to go into production over the next two years: under the RTL Group umbrella would be the cooperation with partners in such key European territories as France, Spain, – an adaptation of former East German writer Christoph Italy and the UK to find projects which would be of interest Hein's novel Willenbrock which will be directed by Andreas for all five markets. ”We would aim to avoid the mistakes of the Dresen from a screenplay by Laila Stieler, their second 80’s – which were usually summed up in the term 'Europudding'“, collaboration with UFA after the prize-winning The Sauer explains, ”by developing a strategy from the outset that Policewoman (Die Polizistin); would have us going to the national TV channels upstream and pitching them the story ideas. The KirchGroup companies though – a biopic of the life of German screen legend Romy Schneider, tend to work on the basis of their distribution structure whereas based on a screenplay by Susanne Schneider (Solo für we want to do this based on the content in direct consultation Klarinette, Hölderlin); with the broadcasters“ – and a big-budget adaptation of Donna W. Cross’ bestselling ”Moreover, we also have the ambition to develop projects with 1996 historical drama Pope Joan about the Catholic Church’s only partners that function on the world market“, he continues. female Pope from the 9th century, with Volker Schlöndorff ”Hallmark is a name that comes to mind here as a model, and attached to direct from the end of 2002. in the medium term, in 3-5 years, we would like to get into a position where we would also be able to organize such globally ”These are three very different and ambitious projects“, Sauer exploitable programs“. declares. ”If they are successful, we will certainly do more in this area“. A development unit dedicated to identifying such internationally marketable projects has already been set up at UFA, but Sauer MB is aware that all of these plans can only be achieved in a step-by- step approach: first, having success on the European market, and then the global market ”although this would mean having to work with and from America“.

That is not to say that UFA has not already been active in the international arena: the submarine thriller Hostile Waters was co-produced with HBO and BBC in 1996, and, a year later, the

25 Kino news

New Home for the www. filmboard.de - Standard Export-Union Editorial Report Guidelines on the Internet The Export-Union des Deutschen Films has moved from Schwabing to the city center of Munich. The new head Potsdam-Babelsberg – The Filmboard Berlin-Branden- office is centrally located between Karlsplatz/Stachus and burg, together with ProSieben, has developed a set of Sendlinger Tor in the Sonnenstrasse 21, 80331 Munich. standard guidelines for editorial reports which can now be downloaded from the Internet. This standard guide assists Also home to the Munich International Film Fest, in the professional selection of material in all phases of story Telepool and the FilmFernsehFonds Bayern, this development. new location will prove to be one of the most important film addresses in Munich in the future. The Export-Union’s team According to a recent survey, only 10% of the producers in can still be reached at the same email addresses via the Germany draw up editorial reports for scripts – and 30% even website at www.german-cinema.de or at said that they never use them.

Export-Union des Deutschen Films GmbH Professor Klaus Keil, director of the Filmboard, says that Sonnenstr. 21, D-80331 Munich the benefits from such reports are still greatly underestimated phone +49-89-59 97 87 0, fax +49-89-59 97 87 30 in story development. ”Of course the success of a film pro- email: [email protected] duction is dependent upon many factors“, says Keil, ”but the quality of the script is still decisive for the ultimate success of the film“. Export-Union publishes German Film Festival Guide

During the 54th International Cannes Film Festival, the Export-Union of German Cinema will officially present its new publication entitled ”Film Festivals in Germany 2001/2002 – A Comprehensive Guide“. The festival guide, which has been specially tailor-made to meet the needs of foreign filmmakers and representatives of the media, offers detailed information and commentaries on approx. 50 of the most interesting German film and TV events.

The guide is organized by town and also has a comprehensive index system of festival dates and genres. The detailed festival Brigitta Manthey, funding consultant at the Filmboard, profiles include contacts, important dates, participation (Next Generation 2001) ”Das Taschenorgan“ Scene from guidelines, sections and awards, attendance figures, media sees great potential in the use of editorial reports for story coverage and assessments. development as well as in the decision making process: ”everyone profits from a thorough survey of the story The new Festival Guide can be ordered free of charge from material, especially when an objective overview has been lost. the Export-Union office in Munich as from 20th April, and it Professional evaluations serve to assess the quality of the will also be available at the Export-Union stand during the story as a product and therefore prevent future disappoint- Cannes Film Festival. A complete online version of the ments. A standard guide also provides a uniform basis, for publication is planned for the end of May, with the support everyone involved, in regards to the advising on the strengths of the six major regional film funds (Filmboard Berlin- and weaknesses of a story.“ Brandenburg, FilmFernsehFonds Bayern, FilmFörderung Hamburg, Filmstiftung NRW, MFG Baden-Württemberg, The guide can be downloaded free-of-charge from the Mitteldeutsche Medienförderung). Internet at www.filmboard.de. From September 2001, the Filmboard will require such a report from all applicants. For "Film Festivals in Germany 2001/2002 - A this reason, an editorial workshop was organized in April by Comprehensive Guide" was produced in collaboration the Erich-Pommer-Institut in Potsdam, in cooperation with the two editors-in-chief of the specialist magazine ”Der with the Filmboard. Further workshops are now in planning. Schnitt“ Nikolaj Nikitin and Oliver Baumgarten.

The Export-Union also published a second revised and expanded version of its already very successful overview of the most important international film festivals, ”Inter- national Film Festivals – A Comprehensive Guide“, which can also be obtained free of charge from the

Export-Union’s Munich office. (Next Generation 2001) Scene from ”Marie muss rennen“ ”Marie muss rennen“ Scene from

26 Kino news

Next Generation for the fourth time in Cannes

The Export-Union of German Cinema will again be presenting a selection of short films by German film students under the Next Generation banner during the Cannes Film Festival. Scene from ”Kleine Fische“ (Next Generation 2001) Scene from Two German Films win at Créteil

Maria Speth was awarded the main prize Jury Grand Prix of the 23rd Festival International de Films de Femmes in Créteil (Women’s Film Festival, 23.03. –

01.04.01) for her first feature film the days between (in ”Oberstube“ (Next Generation 2001) Scene from den tag hinein). The prize includes a money award of approx. DM 7,500, the costs for a French subtitling and pro- Eleven new films from nine German film and art academies motional costs for the theatrical release. make up this year’s Next Generation lineup which will be presented for the first time on the occasion of the Cannes The jury of the festival, which is regarded internationally as Film Festival on Sunday, 13th May, in the STAR Cinema. one of the most important events of its kind, founded its The independent expert jury (Heinz Badewitz, Hof Film decision on ”the precise talent for observation of the director Days; Astrid Kühl, Short Film Agency, and Nikolaj Nikitin, and her actors, the intelligence and sensitivity of the general ”Der Schnitt“) compiled a multi-faceted program which is message and the both beautiful, as well as daring, visual marked by a pronounced stylistic will and technical skill: composition of this first film“. Oberstube by Sebastian Winkels and Für Dich the days between (in den tag hinein), produced by Mein Herz by Johannes von Gwinner (both from HFF November Film, Berlin, in collaboration with ZDF ”Konrad Wolf“); Endstation : Paradies by Jan Thüring Kleines Fernsehspiel and HFF ”Konrad Wolf“, was and Der Pilot by Oliver Seiter (both from the Baden- first shown in January at the Rotterdam Film Festival where it Württemberg Film Academy); Quak by Wolfgang received one of the three renowned ”Tiger Awards“. Dinslage (Film Studies Dept., University of Hamburg); Dans l’atelier du sculpteur by Richard Badé (Academy of The Audience Award of the Créteil festival – with a purse of Media Arts, Cologne); Marie muss rennen by Konrad approx. DM 6,000 - went to Imogen Kimmel’s film Sattler (HFF Munich); Wünsch Dir was by Franziska Secret Society. The story set in England about a group of Stünkel (Hannover Polytechnic); Kleine Fische by women who secretly train as sumo wrestlers received its pre- Holger Ernst (College of Art, Kassel); Das Taschen- miere at the Hof Film Days last October. organ by Carsten Strauch (College for Design, Offenbach); and by Romeo Grünfelder (College for Fine Arts, Hamburg).

The program will also feature a special screening of Quiero Ser by Florian Gallenberger (HFF Munich) who received both the Honorary Foreign Student Award (”Student OSCAR“) and – most recently – the Best Short Film OSCAR for his film.

Following the presentation in Cannes, which is also supported by the six major regional film funds, Next Generation will be shown, as in previous years, at the Festivals of German Cinema which the Export-Union organizes in key cities of the international film industry (2001: Rome, Madrid, , London, Los Angeles). Scene from ”Wünsch Dir was“ (Next Generation 2001) Scene from

27 Kino news

OSCAR Nomination for German Federal Film Board ‘The Periwig-Maker’ with a New Address in Berlin-Mitte Already highly awarded at international festivals, The Periwig-Maker recieved an OSCAR nomination for Best After 32 years in Berlin-Charlottenburg, the German Animated Short. Inspired by a Daniel Defoe novel from 1722, Federal Film Board (Filmförderungsanstalt, FFA) director and Filmakademie Ludwigsburg graduate Steffen has moved to a new location in the Große Präsidentenstr. 9, Schäffler and his sister Annette chose an extraordinary 10178 Berlin. The modern, seven-story building with a view of subject: a man seals himself off in medieval, plague-infested the Hackescher Markt shares the same neighborhood in the London to escape the danger of infection. When a little girl government district with numerous production companies, seeks his help, his life is turned upside down. agencies and publishing houses.

Rolf Bähr, president of the FFA, says the new location “should become a meeting point for everyone committed to German film – a pulsating, lively, and progressive film house for the German film industry.” Scene from ”The Periwig-Maker“ Scene from

Atmospherically dense and overwhelmingly intriguing, The Periwig-Maker is animation at its best, funded by MFG- Filmförderung Baden-Wuerttemberg, FFA and FFF.

Second Festival of German Cinema in Rome FFF Bayern: Movies Made in The 2nd Festival of German Cinema (5 – 9 April Bavaria Go on Tour 2001) in Rome was a great success again this year. Over 4,100 cinemagoers saw 14 current German films. There was In addition to its wide-ranging film and location funding also great resonance from film buyers: Italian distributors activities in Bavaria, the FilmFernsehFonds Bayern showed interest in five of the films shown, including My regularly leaves the borders of the free state and presents the Sweet Home and In July (Im Juli). products of its funding work at international festivals and film weeks. Already in 1998, under the slogan Movies Made in Eleven directors and two actresses had the opportunity to Bavaria, the FFF Bayern was present in Moscow, at the meet with a curious Italian audience. The Italian media showed ”Bayerische Kulturtage“ in Kiev and the Festival of German great interest in these new German films too. Michael Film in Hong Kong, followed by film weeks in Bratislava, Weber of Bavaria Film International was also very Ljubljana, Prague and Cracow. In 2001, Eastern Europe is the satisfied with the results: ”the festival was a great success for main destination again: in July, this year’s first Bavarian film us and we see a positive trend for German films in Italy.“ week takes place in Moscow (22 - 28 July 2001). The film program includes Joseph Vilsmaier’s Marlene, The opening film was My Sweet Home, also shown in Caroline Link’s Pünktchen und Anton and competition at Berlin. The main program of the festival many others. Activities in Cairo, and – now for the featured: Crazy, England!, In July (Im Juli), Lost fifth time – Cracow are also currently in preparation. Killers, Paradiso, The Legends of Rita (Die Stille nach dem Schuss) and No Place to Go (Die Unberührbare). The closing film of the event was the silent classic with live musical accompaniment.

This year’s partners and sponsors included: the office of the Federal Government Commissioner for Cultural Affairs and the Media (BKM), the German Federal Film Board (FFA), the six major regional film funds, Goethe Institute Inter Nationes, Studio Universal Italy, www.35mm.it, Lufthansa, (Next Generation 2001) Radio Centro Suono, Transit Film and the Friedrich-Wilhelm- Murnau-Foundation. Scene from ”Endstation … Paradies“ ”Endstation … Paradies“ Scene from

28 Kino news

Over DM 35,000,000 in Amendment to the Film Promotion: MDM Grant Guidelines: FFA-Industry Tiger and FFA-Short Film Marketing now Eligible for Grants Tiger Awards 2001 At the beginning of the year, the Mitteldeutsche DM 35 million in film funding in Medienförderung (MDM) changed its grant guidelines. one go! German Federal With these changes, the MDM has become the first German Film Board (FFA) awarded film board to support film marketing concepts. The film this record sum at the end of marketing concept’s aim is to determine, evaluate and analyze, March during an informational even during the script development phase, target groups, event in Berlin to the Industry motivations for viewing a film and marketing opportunities. Tiger – the year 2000’s most suc- Producers can apply for film marketing grants together with cessful German film producers the application for story development support. As soon as and distributors. During this the completed script has been accepted by the MDM, the event, the FFA also provided funds for the marketing concept (up to 12,500 Euro) can be information about current film distributed. issues. With these guideline changes, even larger amounts of support The FFA-Industry Tigers for the most successful for story development and package grants can be applied for. productions went to: Claussen + Wöbke/Deutsche Columbia TriStar All new guidelines and application forms can be found on the for Anatomy · Claussen + Wöbke for Crazy Internet under www.mdm-foerderung.de. Constantin Film for Ants in the Pants (Harte Jungs) · Hofmann & Voges Entertainment for The Bunnyguards (Erkan & Stefan)

FFA-Industry Tigers for the most successful distribu- tors went to: Columbia TriStar for Anatomy · Constantin Film for Ants in the Pants (Harte Jungs), Crazy, and The Bunnyguards (Erkan & Stefan) · Tobis Studio Canal for Otto – Der Katastrofenfilm · Warner Bros. Film for Der kleine Vampir Scene from (Next Generation 2001) Scene from This year’s FFA-Short Film Prize Short Tiger, for the pro- motion of up-and-coming creative talent, is worth DM 250,000. The grant, FilmFörderung Hamburg: which was increased by International Commitment DM 50,000 for the awarding of an animation film, goes FilmFörderung Hamburg will continue to pursue its to six graduates of German international commitment. This involves providing both con- film schools. The FFA jury crete support for international co-productions and assisting in selects the winners from 18 establishing international networks. As the German partner short films presented by German film schools. The awarding of for the European screenwriting training program, "North by the Short Tiger takes place at the beginning of July, as last year, Northwest", FilmFörderung Hamburg has close during the Munich International Film Festival. contacts to Denmark and Ireland, as well as to Estonia, Latvia and Lithuania in its role as co-organizer of the ”Baltic Film Festival“. ”We hope to encourage an exchange between Third Location Tour producers, and have the international aim of presenting our- Black Forest selves as a major German film location,“ states Eva Hubert, managing director of FilmFörderung Hamburg. This From 28 - 29 June, the MFG film fund invites producers also includes a strong presence at international festivals: and filmmakers to join this year‘s location tour Southwest. FilmFörderung Hamburg will once again be presenting The two-day discovery of shooting-locations in Baden- its extensive range of services at this year’s Cannes Festival, Wuerttemberg will lead into parts of the black forest as well at the Focus Germany stand in the Marché du Film. as to Baden-Baden and its periphery, providing a large variety of contrasting motifs.

29 For Pisacane, the project follows in CAMEO’s tradition of working with young, first-time directors: in 1995, the Cologne-based outfit was a co-producer on the multi-award-winning documentary Nico Icon by Susanne Ofteringer who, like Aladag, was a graduate of the Academy of Media Arts (KHM) in Cologne; and last year saw the company collaborate with another KHM grad- uate, Hans Weingartner, on his Max Ophüls prize-winner.

Born in 1968, director Aladag has worked as a freelance film- maker since 1995 and made a number of shorts and documen- taries during his studies at the Academy from 1996, including the award-winning documentary Zoran and the short Listen (Hör Dein Leben) which was selected last year to screen in the Export-Union’s Next Generation showcase of new films by students from German film schools.

MB Daniel Brühl (photo © CAMEO) La Grande Elefantenherz Chartreuse Original Title Elefantenherz Type of Project Feature Film La Grande Chartreuse Genre Coming-of-age story Production Company Cameo Original Title Type of Project Documentary Film Philip Gröning Film- und Fernsehproduktion, Cologne With backing from Production Company Filmproduktion, Düsseldorf, in co-production with BR, Munich, Filmstiftung NRW, WDR Producer Annette Pisacane ZDF, Mainz, ARTE, Strasbourg With backing from Director Züli Aladag Screenplay Marija Erceg, Jörg Tensing Filmförderungsanstalt (FFA), Filmstiftung NRW Producer Philip Director of Photography Judith Kaufmann Principal Cast Gröning Philip Gröning Nicolas Daniel Brühl, Erhan Emre, Jochen Nickel, Manfred Zapatka Director Co-director Humbert Philip Gröning Length 90 min Format Super 16 mm, color, Dolby SR Director of Photography Philip Gröning Super 16 mm / Sony HD Shooting Language German Shooting in Cologne from Editor Format April 2001 Shooting in La Grande Chartreuse, France in either summer 2001/winter 2002 or February - May 2002 Contact: CAMEO Film- und Fernsehproduktion Contact: Lübecker Str. 6, D-50668 Cologne Philip Gröning Filmproduktion phone +49-2 21-9 12 81 20 · fax +49-2 21-9 12 81 33 Lohauser Dorfstraße 40e · D-40474 Düsseldorf www.cameo-film.de · email: [email protected] phone +49-2 11-4 70 91 23 · fax +49-30-26 55 09 21 email: [email protected]

Principal photography began at the beginning of April in North Rhine-Westphalia on Elefantenherz, the first full-length feature by Turkish-born director Züli Aladag, as part of the “Sixpack” initiative launched by broadcaster WDR and Filmstiftung NRW to support new directorial talents.

The screenplay by Marija Erceg and Jörg Tensing is described by producer Annette Pisacane of CAMEO Film- und Fernsehproduktion as a “coming-of-age story” about a young boxer in the amateur league who dreams of going professional and has to learn what sacrifices he has to make if he wants to realize this ambition.

The main role of the budding boxer searching for his own identity is played by the newcomer talent Daniel Brühl, who came to greater attention earlier this year through another CAMEO pro- duction – Hans Weingartner’s Das weisse Rauschen – while the part of his Turkish friend and fellow boxer was taken (photo Philip Gröning © Bavaria Film International) by Erhan Emre (known to audiences from his appearances in Some sixteen years ago, filmmaker Philip Gröning (L’Amour Martin Eigler’s Freunde and Miguel Alexandre’s Gran L’Argent L’Amour) thought up the idea of a film about the Paradiso). Other supporting roles have been cast with Carthusian monastic order and researched the subject with Jochen Nickel and Manfred Zapatka.

30 in production

Nicolas Humbert, a fellow student from his days at Munich’s Now, two years later, Rommel and Dresen are back together Academy of Television and Film (HFF/M). again on a new project with the working title of Halbe Treppe, which Rommel describes as ”an experimental feature with as At the end of 1980s, Gröning made the acquaintance of one of little production ballast as possible“ using a Sony DV camera and a the Carthusian priors who has since become the head of the La miniscule team – seven crew and four actors – for the story set in Grande Chartreuse monastery near Grenoble in the French Alps. Frankfurt/Oder on the border with Poland. They kept in contact over the following years, and Gröning has now received permission to be the first filmmaker to visit the Commenting on the film’s title Halbe Treppe, Rommel says that they ”wanted to recount half of the life of normal monastery since 1960. people. What happens when one gets to halfway in life and then asks: ‘how does it go on?’. There was an initial storyline from ”In the 1960 film they were not allowed to show the monks’ faces Andi, but this was then reflected anew each day by the actors and, since then, there were no films made there. This documen- and crew, i.e. the story was developed further and altered on a tary will be extremely austere“, Gröning explains, ”there will be daily basis“. no interviews, not a single commentary. It will be like a meditation about the monastery. One won’t learn anything about the monks ”Each of the protagonists in the film have their respective except that after 90 minutes of film one will have the feeling that professions“, Rommel adds, ”that meant that, in the mornings, one understands a lot about what life means to them. So it will be they often went to their ‘jobs’ and were then there for filming more on the emotional level than about receiving information“. in the afternoons. And, sometimes, they were in their professions for one or two days in a row without any filming Gröning plans to live in the monastery for three months, cut off being done“. from the rest of the world and without any team. He will have an Working with digital video made the logistics of shooting at editing suite set up in the monastery to work on the film, and co- original locations much easier because, unlike on normal film director Humbert will join him for a week or so at a time to shoots, “we could just say ‘Let’s go into a perfumery today and bring in another perspective. shoot’, and this was possible”, Rommel recalls. Moreover, the production had a special character since the team and actors all Gröning admits that ”it will be difficult to transport without lived together in a hotel in Frankfurt/Oder for the duration of words what contemplative life in the strictest sense is, and to the two month shoot: “In that situation, you can’t switch off so show a life that is exclusively concerned with coming nearer to easily because we were constantly together”, Rommel observes, God“, but he hopes that immersing himself in the monks’ daily “unlike normal film productions where everyone has a break away routine over such a long period will point up the rhythmic and at some point”. repetitive quality of their lives. MB MB Halbe Treppe

Original Title Halbe Treppe (working title) Type of Project Feature Film Genre Drama Production Company Rommel Film, Berlin Producer Peter Rommel Director Andreas Dresen Screenplay Andreas Dresen Director of Photography Michael Hammon Principal Cast Steffie Kühnert, Gabriela Maria Schmeide, Axel Prahl, Thorsten Merten Format Digital Video Shooting Language German Shooting in Frankfurt an der Oder from 16 January to the beginning of April 2001

Contact: Bavaria Film International · Dept. of Bavaria Media 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]

After being the German partner on several international co-pro- ductions, Berlin-based producer Peter Rommel worked together with director Andreas Dresen to produce his “Short Axel Prahl (photo © Peter Hartwig) Cuts”-style Night Shapes (Nachtgestalten) which was shown in the official competition of the Berlin Film Festival in 1999 and enjoyed a successful international festival career.

31 But having made it to the first division, the question on every- Im Osten geht body’s lips is ”for how long?“ Promotion was achieved through the efforts of the manager, former East German international Eduard Geyer, and his troop of foreign ”football legionnaires“, but the die Sonne auf money for a truly top team is lacking.

Original Title Im Osten geht die Sonne auf English There are the players, such as Moussa Latoundji from Benin (who Title The Sun is Rising in the East Genre Documentary knows what it’s like to be a foreigner) and Franklin Bittencourt Production Company MGS Filmproduktion, Munich, for from Brazil, who’s been playing soccer in Germany for over seven , Munich and ORB, Potsdam Producer years. Carolin Müller Director Wolfgang Ettlich Director of Photography Hans-Albrecht Lusznat Editor Monika There are Michael and Simone, regular customers at the local Abspacher Length 90 min Format 16 mm, color, 1:1.77 kiosk on a run-down housing estate and Inge, who has waited Shooting Language German Shooting in Cottbus tables for thirty years. If it weren’t for loyal customers and rock bottom prices, she’d have closed long ago. Contact: MGS Filmproduktion Team sponsor and local butcher Hartmut feeds the fans and, like Georgenstr. 121 · D-80797 Munich Inge, hopes for new business. And there is Christian, gardener and phone +49-89-1 23 64 65 · fax +49-89-1 23 64 99 loyal Energie supporter. email: [email protected] Im Osten geht die Sonne auf looks at the last season, how the club’s rise has changed the life and political mood in the region and the effect it’s had on the people of Cottbus itself.

SK

Franklin Bittencourt Ninas Geschichte Original Title Ninas Geschichte (working title) English Title Nina’s Story (working title) Type of Project Feature Genre Tragicomic Love Story Production Company Bosko Biati Film, Berlin, in co-production with ZDF, Mainz With backing from Beauftragter der Bundesregierung für Kultur und Medien (BKM), Filmboard Berlin-Brandenburg, Filmförderungs- anstalt (FFA), Mitteldeutsche Medienförderung (MDM) Producer Jörn Rettig Director Joseph Orr Screenplay Joseph Orr Director of Photography Stefan Wachner Editor Bernd Euscher Music by Bert Wrede Principal Cast Henriette Heinze, Simon Schwarz, Julia Bremermann Length 100 min Format 35 mm, color, 1:1.85 Shooting Language German Shooting in Arnstadt, Thuringia

For fans of soccer club Energie Cottbus, 29 May 2000 was the Contact: most important day after the fall of the Berlin Wall. Their team Bosko Biati Film beat FC Cologne and won promotion to the first division. This Auguststr. 34 · D-10119 Berlin time local skinheads had something new to chant. Most of the phone +49-30-2 84 49 40 · fax +49-30-28 44 94 11 114,000 inhabitants also took to the streets, carrying the crossbar of the goal through which star player, Vasile Miritua, had put the winning shot. If there is a thread running through Jörn Rettig’s one man company Bosko Biati Film’s productions it has to be their Miritua, a Romanian and once a mistrusted foreigner, had not emphasis on the character of the lead figure, on a quite ordinary only secured his team’s place, but had also become ”one of us.“ person, unassuming, modest even, who holds and fascinates And Cottbus, at least for a couple of days, could set aside its through who, not what, they are. reputation as Germany’s most foreigner unfriendly city. The underdogs had roared. Take the company’s lyrical comedy Zugvögel … einmal nach Inari (Trains ’n Roses, 1997) for example. Under Peter Cottbus was long ’s ”Cinderella“ city and this was an Lichtefeld’s direction, Joachim Król turns in a fantastic per- opportunity to wave the flag of civic pride, so often tarnished by formance, both humorous and moving, as the little man deter- the city’s unenviable reputation for violence and intolerance. It mined to make it to, of all things, the world railway timetable and hoped visiting fans would also bring opportunities for economic route memorization championship in Finland. Hot on his heels is improvement and much needed outside investment. the detective (Peter Lohmeyer), convinced that Król has committed a serious crime. The city’s hoteliers, shopkeepers, souvenir sellers, restaurant and bars owners can certainly look forward to increased takings and, Nina’s Story is that of a woman who can see beyond reality with unofficial unemployment somewhere between 20-30%, any- and of her attempt to impart her gift, her knowledge, to the man thing that creates new jobs is more than welcome. she loves.

32 in production

Back in the black and white 1950s, as if the threat of nuclear anni- hilation and, worse yet, Communism, wasn’t enough, there were also those pesky rampaging giant ants, rampaging giant spiders, flying saucers landing in the desert, invasions of body snatchers, Martians up to no good, creatures in black lagoons and all kinds of things just itching to destroy mom, apple pie and, yes, civilization as we know it!

Now the B-movie is back!

Planet der Kannibalen is Rotwang Film’s third produc- tion. After Rotwang muss weg and the German Film Prize win- ning Beim nächsten Kuss knall ich ihn nieder, comes a black and white, low budget, science fiction satire.

Writer-director Hans-Christoph Blumenberg, having Joseph Orr (photo © Stefan Wachner) finished the German reunification drama-documentary Deutschlandspiel, decided to give his imagination free rein and set out to revive the genre that, certainly in Germany, has She lives in a small town in central Germany; a 30-year-old single become neglected these past few years. But you only have to woman who would be living alone if it weren’t for the ghosts of think of Metropolis to realize that science fiction is part of the dear departed who keep her company and whom she knew German filmmaking’s genetic heritage. while they were alive or from tales told by her grandmother. If she lived in another time, another culture, she would be revered Planet der Kannibalen is set in the year 2020, in a Germany as a mystic. In a small town in Germany it’s more complicated. where the European economic system has collapsed and a poverty stricken country in the grip of an energy crisis is about to cele- Nina falls in love with Max, the husband of her best friend, Sibylle. brate thirty years’ reunification. Meanwhile, the two remaining Despite both their efforts to the contrary, driven by her love, her media giants, Alphaplus and Eurolux, are fighting to the death for, character and the ghosts, Nina eventually decides to begin an what else?, ratings. Their weapons, ever more extreme game- and affair. For Max it means betraying his wife, slipping from one lie to talk shows. another until his wife leaves him. Minh Khai plays Emma Trost, Alphaplus’ director for trend But living with Nina means living in her world, together with the management. Her mission is to find aliens in the city, lure them ghosts, creatures free of doubts and pain. They and Nina repre- onto a talk show and win the ratings war for once and all. Emma’s sent forces far stronger than he is and, try as he might, he fails to cool as she knows there are no such things. Aren’t there? But just meet his own ideal of proving worthy to her. He flees back to the as her boss is about to tell her where they’re hiding, he’s shot. world whose forces and circumstances he understands, that of Emma, a murder suspect, is forced to flee through a night time city Sibylle and his children. of cannibals, criminals, tycoons and terrorists until she meets media desperado Adam Singer. Together they set out to solve the Nina’s suicide attempt fails and, in the hospital, she discovers that mystery of the aliens. she is pregnant. She now lives a soulless and empty existence, surrounding herself with a protective wall through which no man, Shot in just 19 days on a budget of only DM 2.1 million, by using no ghost, can penetrate. Until, that is, she sees the baby’s face deferments Rotwang’s owners, Blumenberg and Brandt, on the ultrascanner. At that moment, the ghosts return and Nina have assembled a stellar cast. Not only TV presenter Minh Khai lives again. and star actress Barbara Auer, but writer-director Fatih SK Akin (Im Juli) also lends his talents. SK Planet der Kannibalen Original Title Planet der Kannibalen Type of Project Feature Genre Science fiction satire Production Company Rotwang Film, Hamburg With backing from FilmFörderung Hamburg, ARTE, Strasbourg, ZDF, Mainz Producers Patrick Brandt, Hans-Christoph Blumenberg Director Hans-Christoph Blumenberg Screenplay Hans-Christoph Blumenberg Director of Photography Klaus Peter Weber Editor Florentine Bruck Music by Nick Glowna Principal Cast Minh-Khai Phan-Thi, Florian Lukas, Barbara Auer, Fatih Akin, Vadim Glowna Format 35mm, b/w, 1:1.85 Shooting Language German Shooting in Hamburg and surroundings

Contact: Rotwang Film GmbH Koppel 94 · D-20099 Hamburg phone/fax +49-40-24 48 64

Minh-Khai Phan-Thi (photo © Baernd FRAATZ) 33 Die Prüfung Original Title Die Prüfung Type of Project Feature Film approached him with another script (for Papierdrachen, which Genre Love story Production Company Mediopolis Film they will now film later) and then suggested Die Prüfung which GmbH, Cologne, in co-production with WDR, Cologne With he describes as ”a love story and a first love against all odds with a backing from Filmstiftung NRW Producer Alexander Ris happy end“. Commissioning Editor Andrea Hanke (WDR) Director Seyhan Derin Screenplay Seyhan Derin Director of ”What we like about this film is that it is not a heavy subject“, Photography Martin Farkas Principal Cast Arzu Bazmann, Ris explains, ”it is a universal love story set against a real social Fatih Alas, Dennis Grabosch, Volker Büditz, Sigo Lorfeo, Dinah background with real people and their problems. Love is some- Maria Helal, Lilia Lehner, Nina Jaruga, Klaus Nierhoff, Sabine thing universal, as are the problems young people have when Adams Format Super 16 mm, color, 1:1,85 Shooting they go against their parents’ wishes to live with someone in Language German Shooting in Cologne from 6 March 2001 another land“. for 25 days. Die Prüfung centres on Deniz, a girl of Turkish descent in her Contact: last year of school, who had met and fallen in love with a young Mediopolis Film- & Fernsehproduktion GmbH man called Umut on a visit in Turkey. He returns to Germany ille- Bülowstr. 66 · D-10783 Berlin gally to be reunited with Deniz, but his presence threatens to phone +49-30-2 35 56 00 · fax +49-30-23 55 60 66 jeopardize Deniz’s preparations for her school-leaving exams, www.mediopolis.de · email: [email protected] much to the chagrin of her parents who demand that she break off all contact with the impetuous young man … ”We spent a very long time casting for the film“, Ris declares, ”because we needed actors around eighteen to nineteen, so we couldn’t take people who were much older and had played lots of roles“. At the same time, Die Prüfung marks a reunion of director Derin with cinematographer Martin Farkas who worked most recently on Dominik Graf’s Der Felsen and had been behind the camera for her on her award-winning documentary Ben annemin kiziyim – Ich bin Tochter meiner Mutter. MB Semper 2000

Original Title Semper 2000 (working title) Genre Creative Documentary Production Company Next Film Filmpro-

Fatih Alas (photo © Mediopolis Berlin GmbH) duktion, Hamburg, in cooperation with ZDF, Mainz With backing from FilmFörderung Hamburg, Mitteldeutsche Medienförderung Producer Thomas Tielsch Director Thomas Tielsch Screenplay Thomas Tielsch, Niels Bolbrinker Director of Photography Niels Bolbrinker Editors Thomas Tielsch, Niels Bolbrinker Length 80 min Format 35 mm, color, 1:1.66 Shooting Language German Shooting in Dresden, Berlin

Contact: Next Film Produktion GmbH Lippmannstr. 53 · D-22769 Hamburg phone +49-40-4 31 86 10 · fax +49-40-43 18 61 11 email: [email protected]

In the historic center of the German city of Dresden, one of the baroque treasures of Europe, not far from the Semper opera and the Frauenkirche, both destroyed in the last days of WWII and now restored to their former glory, a new temple is taking shape. Principal photography wrapped at the beginning of April on A Volkswagen factory. Seyhan Derin’s debut fictional feature-length film Die Prüfung at locations in and around Cologne. This, however, is no ordinary building. On one level it provides transparency into the manufacturing process in that customers can Produced by the Cologne outpost of Berlin-based production watch their vehicle, one of the 150 luxury and off-roadsters per company Mediopolis Film, whose past credits include Thomas day, being assembled before their eyes. But here, purchasing a car Riedelsheimer’s Rivers and Tides (Fluss der Zeit) and becomes part of tourism, part of a cultural experience. For the Fred Kelemen’s Nightfall (Abendland), Derin’s romantic first time, a company is no longer sponsoring culture, it is drama was made within the framework of broadcaster WDR and presenting itself and its products as culture. the Filmstiftung NRW’s ”Six Pack“ initiative for first-time directors. Nothing comes close to the automobile in terms of the changes it As Mediopolis Film’s Alexander Ris recalls, Munich’s has wrought in the last century. How fitting it is, then, that it is a Academy of Television & Film (HFF/M) graduate Derin initially car manufacturer, presenting the final assembly of a luxury pro-

34 Heaven in production Contact: CV Films Greifswalder Str. 207 · D-10405 Berlin phone +49-30-53 69 60 83 · fax +49-30-53 69 60 85 email: [email protected]

Six years ago, the Berlin author Michael Roes lived and worked in for over one year, undertaking an ethnological field study on the traditional games and dances of the South Arabian tribes, which resulted in his award-winning novel Rub’Al-Khali. Leeres Viertel in 1996.

This winter, he returned to South Arabia to make the feature film Someone Is Sleeping In My Pain about an American film director (played by the Afro-American theater director, actor and dancer Andrea Smith) who comes to the region’s mountain ranges to make an Arabic version of Shakespeare’s Macbeth with the Yemenite tribal warriors. Thomas Tielsch, Niels Bolbrinker duct on a public stage in the center of a cultural metropolis, which ”Fascinated by the hostility of the landscape and the seriousness of is now redefining our definition of what constitutes public space. its inhabitants, [the director] wants to use the archaic backdrop to capture the warriors’ everyday life as authentically as possible“, Semper 2000 examines not just the VW project itself (including Roes explains. ”Then, for them, honor, hospitality and blood the company’s brand-strategic and cultural visions) but also looks feuds – those medieval concepts which occupied the Scottish king at the changes in use and definition of public space as well as the Macbeth – are not obsolete ones, but are values that are still valid history of modern architecture and town planning. and lived out“.

The building itself is 150 m long, 40 m high, and is costing DM 300 ”The appeal of this Macbeth adaptation is in making the difficulties million. Producing the expensive jewels of motoring, it is both a of its realization into the film’s subject. The circumstances of the showcase for those jewels and itself designed to shine brightly, shooting provide the framework for the film in film, the South both day and night. Arabian Macbeth“, he continues. ”The boundaries between the documentation of the work and the staged story become It is not just in Dresden but, like the historic building and gardens increasingly blurred. The action of the feature film is reflected in nearby, also of Dresden. What do the local people, those affected the way it is produced, in the Macbeth-like ambition of the directly and indirectly, make of this new addition to their city, this director. What was thought at the beginning of the film as being a triumph of the modern baroque? What of them and their milieu? naïve equation of a contemporary traditional culture with a poetic invention, develops into a dramatic debate between reality and Semper 2000, structurally and contextually, matches pace projection, reality and the mise-en-scène“. with the building’s construction. The construction workers also MB feature, those modern successors of all the now mute artisans who, over the centuries, chipped, chiselled, heaved and hoisted to build the cathedrals, opera houses, palaces and other monuments of their day.

Past and present, history and reality, theory and practice, public and private space, the threads are all pulled together. In a world in which we have come to worship the car, their temple awaits.

SK Someone Is Sleeping In My Pain

Original Title Someone Is Sleeping In My Pain Type of Project Feature Film Genre Drama Production Company CV Films, Berlin, in co-production with Michael Roes Filmproduktion, Berlin Producers Ilona Ziok, Michael Roes Director Michael Roes Screenplay Michael Roes Director of Photography Manfred Andrej Hagbeck Principal Cast Andrea Smith Format 35 mm (blow up) Shooting Scene from ”Someone is Sleeping in My Pain“ (photo © Manfred Andrej Hagbeck) Language English, Yemenite Shooting in New York and North Yemen from December 2000 to January 2001

35 script Hans-Christian Schmid, co-written by Michael Gutmann), Lola rennt and Nach fünf im Urwald (script and direction Hans-Christian Schmid).

And, unlike some films, Tamara is proud to wear its commercial credentials on its sleeve. That’s because production company Claussen + Wöbke (that’s Jakob Claussen and Thomas Wöbke) is the name behind some of the country’s most recently successful films. Not just coming-of-ager Crazy (1.5 million admissions), Die Apothekerin, Nach fünf im Urwald (with Franka Potente) but also, in co-production with Deutsche Columbia Pictures Filmproduktion, for Anatomie. Again starring Franka Potente, the medical horror/thriller sold 2 million tickets, making it the most successful German film in 2000. It not only won the Audience Award of that year’s German Film Prize but gained one of the highest honors the industry can

Tom Schilling, Alicja Bachleda-Curus (photoFilmproduktion) © Claussen + Wöbke Tom bestow – a sequel … so, look out for Anatomie 2!

SK Tamara Untitled Original Title Tamara (working title) Type of Project Feature Genre Coming-of-age Story Production Company MTM Project Claussen + Wöbke Filmproduktion, Munich With backing from FilmFernsehFonds Bayern, Filmförderungsanstalt (FFA), Filmstiftung NRW Producers Jakob Claussen, Thomas Wöbke Original Title Untitled MTM Project (working title) Type of Director Michael Gutmann Screenplay Michael Gutmann, Project Feature Film Genre Melodrama Production Hans-Christian Schmid Directors of Photography Pascal Company MTM Medien & Television München, Munich, in Hoffmann, Klaus Eichhammer Editor Monika Abspacher Music co-production with Constantin Film Produktion, Munich, and by Rainer Michel Principal Cast Tom Schilling, Alicja Bachleda- Dschoint Ventschr Filmproduktion, Zurich, in association with Curus, Matthias Schweighöfer, Anna von Berg, Katharina Müller- Filmhaus, Vienna With backing from Filmboard Berlin- Elmau, Leonard Lansink Length 100 min Format 35 mm, color, Brandenburg, FilmFernsehFonds Bayern, Filmförderungsanstalt 1:1.85 Shooting Language German Shooting in Frankfurt, (FFA) Producer Andreas Bareiß Associate Producer Munich German Distributor Constantin Film Verleih GmbH, Wolfgang Ramml Director Urs Egger Screenplay Jens Urban Munich Director of Photography Lukas Strebel Principal Cast , Bruno Ganz, Günter Lamprecht, Otto Tausig, Contact: , Nina Hoss Format 35 mm, color Shooting Claussen + Wöbke Filmproduktion GmbH Language German Shooting in Berlin and Vienna from Herzog-Wilhelm Str. 27 · D-80331 Munich mid-February to end of March and in May 2001 German phone +49-89-2 31 10 10 · fax +49-89-26 33 85 distributor Constantin Film Verleih GmbH, Munich email: [email protected] Contact: Jakob meets Tamara, a Polish au-pair working in a suburb of Bavaria Film International · Dept. of Bavaria Media Frankfurt. He’s been away for over a year, staying with his father Bavariafilmplatz 8 · D-82031 Geiselgasteig in Berlin after dropping out of school, unable to face his mother’s phone +49-89-64 99 26 86 · fax +49-89-64 99 37 20 painful death from cancer. www.bavaria-film-international.de email: [email protected] But things didn’t work out there, his highly pregnant sister is less than enthused to see him again, and his efforts to find and hold a job and make friends keep falling through due to his gruff and ”A chamber piece and a highly emotional drama“ is how producer confrontational manner. Andreas Bareiß describes Urs Egger’s new as-yet-untitled project about three Jewish Holocaust survivors who come across Tamara is the exception. For Jakob it’s love at first sight and while one of their tormentors from the concentration camp in the guise she’s not so keen at first, he perseveres and the two become of a Catholic priest some four decades later. inseparable. But an au-pair’s life isn’t easy and Jakob immediately sticks his oar in and appoints himself her protector. But she’s a Bareiß recalls that the original screenplay was sent to him by self-aware young lady and can stick up for herself, which means writer Jens Urban just at the time of the controversy Jakob’s efforts only lead to sometimes amusing, sometimes surrounding Martin Walser’s Holocaust speech in summer 1999. unpleasant, situations with her friends and host family. ”It is an extraordinarily important project“, he declares, ”if you consider your profession as a producer not only as a profession Finally Tamara has to return to Poland. Least of all because Jakob’s but also as a calling, then you have a certain responsibility for the talent for opening his mouth at the wrong time and acting without kind of films you make. This is certainly a film which will lead thinking has finally made a bad situation worse. While the two say to a discussion that concerns us all, i.e. about law and justice, their farewells at the bus station, uncertain if they’ll ever see each guilt and expiation. It will be a film that raises and discusses the other again, buses full of new au-pairs are arriving, young women issue once more because there is no forgetting, no forgiving and full of hope being welcomed by their smiling and laughing girl- no liberation from guilt“. friends. When casting began for this prestige production, it became clear Aimed at a male and female audience, aged 15-25 years, Tamara to Bareiß and director Egger that there was only one actor in appeals to those who enjoyed films such as Crazy (direction and the German speaking area who could play the central character

36 in production of Epstein – Mario Adorf. ”And he was involved very early The film’s author and director, Alice Agneskirchner, goes in search of this special feeling of home and heart. In Wilden- ranna everybody has their tale to tell. The people take life’s many struggles and setbacks as they come, laconically, sometimes ironically, with a smile and tear on their furrowed faces.

Places like Wildenranna will soon be a thing of the past as life there becomes more and more like life everywhere else. And films like Wildenranna will be all that remains to document what once was.

There is a German film tradition known as the Heimatfilm. The Bruno Ganz, Mario Adorf, Otto Tausig (photo © MTM) word ”Heimat“ itself translates into English as ”home“, as in ”home is where the heart is“. The genre enjoyed a boom in the post-war years as cinemagoers sought escapism in harmless, of Epstein - Mario Adorf. ”And he was involved very early sentimentalized (kitsch, even) entertainment. But all these films on, also contributing to the development of the screenplay“, were based on idealized reality. They were fiction. Wilden- Bareiß explains, ”and only then did we cast the other parts for ranna is the actuality and life is physically and mentally very hard. our dream cast“. Alice Agneskirchner was born in Munich and studied ”The forum for this film is not limited to Germany”, Bareiß Direction at the ”Konrad Wolf“ Academy of Film and Television continues, “it is a film which has countries abroad in its sights, and in Babelsberg, just outside Berlin. In addition to having made a I think that if there is a strong interest in the film abroad, this will number of documentaries, she is probably one of the few industry have an effect on its reception back in Germany“. professionals who can claim to have worked as a horse trainer in a circus and a cowgirl in Wyoming! Shooting on the DM 7.6 million project began in Berlin in mid- February and continued in Vienna during March, followed by Producer Christian Bauer is responsible for more than fifty a second shoot in Berlin from mid-May. Delivery of the film is documentaries and in 1993, after several consecutive nominations, scheduled for August 2001. won the Adolf Grimme Prize, the equivalent of a German Emmy, for his film on the last days of an American army garrison in MB Bavaria, Der Ami geht heim. Wildenranna – SK Ein Heimatfilm

Original Title Wildenranna – Ein Heimatfilm (working title) Type of Project Documentary Genre Direct Cinema, Ethnographic Film Production Company Tangram Christian Bauer Filmproduktion, Munich, for Bayerischer Rundfunk, Munich With backing from FilmFernsehFonds Bayern Producer Christian Bauer Director Alice Agneskirchner Screenplay Alice Agneskirchner (Documentary Treatment) Directors of Photography Johannes Straub, Rainer Hartmann Editor Julia Furch Format Digital Betacam, color, 16:9 Shooting Language German Shooting in Wildenranna (Bavarian forest)

Contact: Tangram Christian Bauer Filmproduktion Herzog-Wilhelm-Str. 27 · D-80331 Munich phone +49-89-2 36 60 60 · fax +49-89-23 66 06 60 Alice Agneskirchner, Rudl Kurzböck (photo © Tangram Film 2001) (photo © Tangram Rudl Kurzböck Alice Agneskirchner, www.tangramfilm.de · email: [email protected]

Wildenranna is as picturesque as German villages come. It lies in lower Bavaria, not far from Austria and the Czech Republic, in an area of unsurpassed natural beauty famed for its gently rolling hills, wide valleys and native forests. It’s home to nine hundred people, has a church and a local bar. Winters are hard, summers are short and cold. The local industries are agriculture and timber.

The 1930s saw a wave of emigration to the United States as people sought their fortune overseas. Many returned, unable to sever their ties with home. As the locals say, this feeling of belonging, of being together, was always something special to Wildenranna and still is.

37 No examination of the history of cinema is complete without a survey as to the most important or favorite films of all time. In an international context American titles dominate; films such as Gone with the Wind and Citizen Kane through to Schindler’s List and Titanic. In 1995, on the occasion of the 100th Birthday of the Cinema, the Stiftung Deutsche Kinemathek organized a survey of film historians, journalists, editors and filmmakers to ask them which 100 German films, from the very beginning to the present day, they considered to be the most significant. They were asked to name those films ”which, for the spectrum of German film history, are of outstanding significance artistically, politically or socially.“

324 industry experts voted in the first round to decide places 1 to 75. The result was announced in February 1994 at the International Film Festival in Berlin. In the second round of voting, for places 76 to 100, 228 people were asked for their opinion. The results were collected in autumn 1994 and announced in the anniversary year. Highlights of German Film History THE 100 MOST SIGNIFICANT GERMAN FILMS

Among those who voted were film makers Herbert Achternbusch, Frank Beyer, Alexander Kluge, Kurt Maetzig, Edgar Reitz, Christoph Schlingensief, Volker Schlöndorff, Margarethe von Trotta, and , journalists Peter Buchka, Wolf Donner, Peter W. Jansen, Hellmuth Karasek, Ponkie and Will Tremper, the internationally renowned film historians Freddy Buache, Bernard Eisenschitz, Ulrich Gregor, Naum Klejman, Ib Monty, Enno Patalas, Giovanni Spagnoletti, Jerzy Toeplitz and Karsten Witte, producers Günter Rohrbach, Joachim von Vietinghoff and Jürgen Wohlrabe. Some of these are, sadly, no longer with us but their ballots, along with the others, have been archived for posterity at the Stiftung Deutsche Kinemathek.

Two of the 100 selected films were made before 1914, 37 are from the , 8 from the time of the Third Reich, 5 from the early post-war years, 36 from the Federal Republic and 12 from the German Democratic Republic. Of the 100 titles, 24 films are silent and 76 are with sound. Fritz Lang, Georg Wilhelm Pabst and are represented by more than six titles (Fassbinder is also included for his participation in Deutschland im Herbst), Pabst for his co-direction on Die weiße Hölle vom Piz Palu). Helmut Käutner, Wolfgang Staudte, Wim Wenders and Konrad Wolf are each represented by four films, Friedrich Wilhelm Murnau and Volker Schlöndorff by three.

Because the survey was so wide ranging, the first 100 rankings are principally the most well-known and famous titles. But five documentaries, three large-scale television productions and a few experimental works are also included.

Even six years on, the result of the survey is still representative. The highlights of German film history are not meant to be written in stone for eternity, but whoever has seen all one hundred films will have a solid basic historical know- ledge of German filmmaking. Each year the number of new films one could term really “significant” is, as we know, not particularly long.

Information about the 100 films can be found on the CD-Rom ”Die deut- schen Filme“, which was released in 2000 by the German Film Institute in Frankfurt and is also available from the Stiftung Deutsche Kinemathek in Berlin. A SURVEY BY THE BY A SURVEY STIFTUNG DEUTSCHE KINEMATHEK

Hans Helmut Prinzler

38 M – Eine Stadt sucht einen Mörder M – A TOWN IS LOOKING FOR A MURDERER Scene from ”M – Eine Stadt sucht einen Mörder“ (photo ”M – Eine Stadt sucht einen Mörder“ © Filmmuseum Berlin/Deutsche Kinemathek) Scene from

A serial killer is keeping Berlin on pins and needles. The police commit everything they have to finding him, but to no avail. Even the great amounts offered as reward money do not help, but only lead to more panic and accusations. Not only the police, but also the underworld is interested in finding the killer, as the constant police raids are ”disturbing“ their work and, since the killer is an outsider, he is ruining their reputation too. The police are convinced that it can only be a pathologically ill person and investigate all such registered candidates. The underworld organizes the city’s beggars to keep a look out. As the killer attempts to approach the next child, he is seen by one of the beggars who calls one of his commissioners. The killer is followed into an office building, circled in on and caught. The gangsters hold trial in the cellar of the building and even give the killer a defence lawyer. The court and jury plea for the death penalty, but after the killer admits his guilt, the defence lawyer warns that a psychologically ill person cannot be held responsible for his acts. In the meantime, the police have found out where the killer is and just as the lynch mob is about to execute its sentence, the police storm in and ”save“ the killer with the line ”in the name of the law, you are arrested!“

Genre Thriller Category Feature Film Cinema Fritz Lang was born in 1890 in Vienna and died in 1976 in Year of Production 1931 Director Fritz Lang Beverly Hills. He studied Architecture in Vienna and Painting in Screenplay Director of Munich and wrote his first screenplay in 1916 for . Lang Photography Editor Paul was more than just a great director; he was a man who staged Falkenberg Music motif from ”Peer Gynt“ from himself and his life, who created the legend of his person, who Edvard Grieg Production Design Emil Hasler, Karl wanted his private life to remain invisible in order to further Vollbrecht Producer Seymour Nebenzahl launch his desired public image. He celebrated his first success Production Company Nero-Film, Berlin during the Weimar Republic, reacting to the massive political and Principal Cast Peter Lorre, Ellen Widmann, Inge social changes and integrating them into his work. He left Landgut, Gustaf Gründgens, Friedrich Gnaß, Fritz Germany in 1933, emigrating via France to the United States in Odemar, Paul Kemp, Theo Lingen, Ernst Stahl 1934, where he continued to tie political aspects into his work. Nachbaur, Fritz Stein, Otto Wernicke, Theodor Loos, His films include: Die Spinnen (1919), Die Pest in Georg John, Rudolf Blümmer, Karl Platen Length Florenz (1919), Harakiri (1919), Das wandernde Bild 117 min, 3208 m Format 35 mm, b&w, 1:1.37 (1920), Kämpfende Herzen (1920/21), Der müde Tod Original Version German Dubbed Versions (1921), Das indische Grabmal (1921), Dr. Mabuse, French, Italian Subtitled Version English der Spieler (1921/22), Die Nibelungen (1922-24), German Distributor Filmverleih Die Lupe, Metropolis (1926), (1927/28), Frau im Mond Göttingen (1928/29), M (1931), Liliom (1934), Hangmen Also Die (1942), Ministry of Fear (1944), The Big Heat (1953) and many, many more.

World Sales: Atlantic-Film S.A. · Martin Hellstern Münchhaldenstr. 10 · CH-8034 Zurich phone +41-1-4 22 38 32 · fax +41-1-4 22 37 93 www.praesens.com · email: [email protected] MOST SIGNIFICANTTHE 100 GERMAN FILMS – 1

39 Das Cabinet des Dr. Caligari THE CABINET OF DR. CALIGARI Scene from ”Das Cabinet des Dr. Caligari” (photo © Filmmuseum Berlin/Deutsche Kinemathek) ”Das Cabinet des Dr. Scene from

Dr. Caligari, a demonic doctor and murderer, untouchable by the arm of the law (through the exploitation and use of a somnambulist), is traced by his antagonist, whom he has robbed of both friend and lover, to a mental hospital where he lives as its director. The vengeful young antagonist uncovers the keeper of madmen as a madman himself; as a madman for whom the example of faded criminal memoirs has become an obsession. And then all these events, reproduced as the youth’s story, finally reveal themselves to be the fantasies of an equally sick mind, and therefore a well-disposed audience can make friendly allowances for them, along with the offensive décor; all the more so, since the director – actually a most upright fellow – now also gives the young patient hope for recovery. After all, he has been in the madhouse …

Genre Drama Category Feature Film Cinema Robert Wiene was born in 1881 in Breslau and Year of Production 1919/20 Director Robert died in 1938 in Paris. The son of an actor, he too Wiene Screenplay Carl Mayer, Hans Janowitz studied Acting and later became a story editor at Director of Photography Willy Hameister the Lessing Theater in Berlin. His first works were Music by , Lothar Prox (1920), Rainer for Sascha-Film in Vienna and Bioscop and Messter Viertlböck (1994) Production Design Hermann Film in Berlin. After cooperation on Satanas with Warm, Walter Reimann, Walter Röhrig Producer Friedrich-Wilhelm Murnau he directed Das Rudolf Meinert Production Company Decla-Film, Cabinet des Dr. Caligari, considered to be his Berlin Rights Friedrich-Wilhelm-Murnau-Foundation, most important film. His other films include: Wiesbaden Principal Cast Werner Krauß, Conrad Genuine (1920), Raskolnikoff (1923), Orlacs Veidt, Lil Dagover, Friedrich Fehör, Hans Heinrich von Hände (1924), the passion play I.N.R.I. (1923), Twardowski, Rudolf Lettinger, Ludwig Rex, Elsa Ultimatum (1938) and many more. Wagner, Henri Peters-Arnolds, Hans Lanser-Ludolff Length 62 min, 1509 m Format 35 mm, b&w, 1:1.33 Original Version German German Distributor Transit Film GmbH, Munich

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

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40 Berlin. Die Sinfonie der Großstadt BERLIN, SYMPHONY OF A CITY Scene from “Berlin. Die Sinfonie(photo Scene from der Großstadt“ © Filmmuseum Berlin/Deutsche Kinemathek)

The external framework is the life of the metropolis from morning until midnight. At first, one senses the atmosphere of the city; a long-distance train travels through the suburbs, making us increasingly aware of the proximity of the colossus, shots of the journey, motion filmed with amazing technical skill, symbolize our rushing towards the metropolis. The station, the dawn, Berlin! Gradually it awakens. The earliest workers sparsely populate the streets. It grows in a crescendo, highlights fall on the centers of morning life, on stations, factories, road junctions. Characteristic types are captured everywhere. And like an accompanying tune, we have sections from the private lives of big-city people, houses waking up, apartments coming to life. Midday arrives, evening arrives, again and again the objective fits to situations full of life, stealing the heart of them. The photographer penetrates all areas, all districts, all social classes. Night falls, sections from the dark existence of Berlin, flashes of light over the darkest periphery. Until the night gently covers over this incomparably seething life with its calm veil of stars.

Genre Documentary Year of Production 1927 Walther Ruttmann was born in 1887 in Frankfurt and Director Walther Ruttmann Screenplay Karl died in 1941 in Berlin. He studied Architecture and Painting Freund, Walther Ruttmann Directors of and worked as a graphic designer. His film career began in Photography Reimar Kuntze, Robert Baberske, the early 1920s. His first abstract short films, Opus I (1921) Laszlö Schäffer Music by Edmund Meisel and Opus II (1923) were experiments with new forms of Production Design Erich Kettelhut Producer film expression. Ruttmann and his colleagues of the avant Production Company Fox-Europa- garde movement enriched the language of film as a medium Produktion, Berlin, commissioned by Deutsche with new form techniques. Together with E. Piscator, he Vereins-Film, Berlin Length 65 min, 1466 m worked on the experimental film Melodie der Welt Format 35 mm, s/w, no dialog German (1929). His other films include: Opus III (1925), Opus IV Distributor Deutsches Filminstitut – DIF, (1925), Weekend (1930), Acciaio (Stahl, 1933), Wiesbaden Altgermanische Bauernkultur (1934), Schiff in Not (1936), Mannesmann (1937), Henkel, ein deutsches Werk in seiner Arbeit (1938), Waffen- kammern Deutschlands (1940), Deutsche Panzer (1940), Krebs (1941), and many more.

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41 Menschen am Sonntag PEOPLE ON SUNDAY Scene from ”Menschen am Sonntag“ (photo Scene from © Filmmuseum Berlin/Deutsche Kinemathek)

A completely normal summer day in Berlin in 1929: life pulsates, the city vibrates full of energy, there is action all around. As though it were coincidence, the viewer gains insight into the lives of different residents of the metropole, and follows them through their everyday activities, their work, their free time. A young man waiting at a streetcorner for his dark-haired girlfriend. A taxi driver, Erwin, and his wife and their triste domestic existence. On Sunday, Berlin is as empty as a ghost town. It seems as though everyone flees to the countryside, the train stations are packed. Erwin meets up with the young man and his female companions, who are on their way to a nearby lake. The two men know each other and decide to make the excursion all together. The young man’s intense flirting with his girlfriend’s friend arouses jealously in his girlfriend, especially when he arranges a date with her for the following Sunday. Erwin reminds him that they already have plans to play football next Sunday. When Erwin returns home, he finds his wife just as he left her, asleep.

Genre Drama Category Feature Film Cinema Robert Siodmak was born in 1900 in Memphis Year of Production 1929/30 Director Robert and died in 1973 in Locarno. He studied in Marburg Siodmak Screenplay Billy Wilder Director of and worked as an actor for the Ufa. In 1940, he Photography Eugen Schüfftan Editor Robert went to the United States and made a name for Siodmak Music by Otto Stenzel Producer Moritz himself with his psychologically accentuated crime Seeler Production Company Filmstudio 129, Berlin story films. He was a representative of the human- Principal Cast Erwin Splettstößer, Brigitte Borchert, istic-realism of German films prior to 1933 and one Wolfgang von Waltershausen, Christl Ehlers, Anni of the most important American directors of the Schreyer, Kurt Gerron, Valeska Gert, Ernst Verebes, “Black Series”. His films include: Abschied (1930), Heinrich Gretler Length 74 min, 2014 m Voruntersuchung (1931) which was blacklisted Format 35 mm, s/w, 1:1.37 Original Version in 1933, Brennendes Geheimnis (1933), The German Subtitled Versions English, French Suspect (Unter Verdacht, 1944), The Spiral German Distributor Stiftung Deutsche Staircase (Die Wendeltreppe, 1945), Kinemathek, Berlin Nachts, wenn der Teufel kam (1957) for which he won a prize for Best Director at Karlovy Vary, and many, many more.

World Sales: Atlantic-Film S.A. · Martin Hellstern Münchhaldenstr. 10 · CH-8034 Zurich phone +41-1-4 22 38 32 · fax +41-1-4 22 37 93 (* no.4 Nosferatu was already presented within the framework of

THE 100 MOST SIGNIFICANTTHE 100 GERMAN FILMS – 5* www.praesens.com · email: [email protected] the former series ”German Classic Movies“ in KINO 4/1999)

42

Berlin Babylon

Berlin after the Wall came down. Observations on radical reconstruction of a city core. Images of the conflict between the thirst for demolition and the hunger for completion. Edited into a documentary vision. Since the Wall fell in 1989, the German capital has been trying to overcome its catastrophic past, to restore the urban fabric destroyed in the 20th century, to build as if life depended on it, and to cast off the shadows of yesterday’s darkness. The film shows fascinating images of a city in transition. It is the drama of real estate, of money and power. Prominent architects, developers, politicians and urban planners are seen at work. No interviews, no statements. The music provides the commentary. The Babylonian fable of civilization, of the violence of construction, lives on in reunited Berlin. The upheaval turns to stone. (photo © S.U.M.O. Film) (photo © S.U.M.O.

Genre Educational, History Category Documentary TV Hubertus Siegert was born in 1959 in Year of Production 1996-2000 Director Hubertus Düsseldorf. He studied History, Art History Siegert Screenplay Hubertus Siegert Directors of and Theater Studies in Berlin and graduated Photography Ralf K. Dobrick, Thomas Plenert with a degree in Landscape Architecture. He Editors Peter Przygodda, Anne Schnee Music by began making documentary films during his Einstürzende Neubauten Producer Hubertus Siegert studies and went on to direct and produce Production Company S.U.M.O. Film, Berlin, in co- two short films Das Sonnenjuwel (1995) production with Philip Gröning Filmproduktion, Düsseldorf and The Orange Kiss (1996) as well as Principal Cast Rem Koolhaas, Renzo Piano, Helmut the short documentary Stravinsky in Jahn, Ieoh Ming Pei, Günter Behnisch, Josef P. Kleihues, Berlin (1993) with S.U.M.O. Films. Axel Schultes, Angela Winkler Length 88 min, 2627 m Format 35 mm, color, 1:1.85 Original Version German Subtitled Version English Sound Technology Dolby SRD International Festival Screenings Berlin 2001 (Panorama) With backing from Filmboard Berlin-Brandenburg, Filmbüro NW AT CA N N E S German Distributor Piffl Medien GmbH, Berlin MARKET SCREENINGS

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.berlinbabylon.de · www.mediaLuna-entertainment.de email: [email protected] · [email protected] 44 Drei Stern Rot 3 STAR RED

3 Star Red is the name of the flare and the code name used by East German border guards to signal an escape attempt over the deadliest stretch of the Iron Curtain. During the shooting of a feature film in the winter of 2001, Christian Blank, a man playing the bit part of an East German border guard, goes berserk. For no apparent reason, he attacks one of the leading actors and tries to kill him. He is taken to the psychiatric ward of a hospital, where a tired but attractive psychiatrist, Dr. Wehmann, treats him. She is soon fascinated by what she hears. Blank was, in fact, an East German border guard in real life. He mistook the film actor for the vicious and sadistic Major Nattenklinger, his former commanding officer. Blank delves into the depths of his soul to reveal what he has gone through. The more he tells, the more it becomes clear that he is not as insane as he first seemed. 3 Star Red is the almost unbelievable story of a man who found out what true horror was, who lost everything, including the love of his life. Now, years later, reality and ”insanity“ merge to form a chilling narrative of dashed hopes, love and betrayal, danger and the blunt desire for revenge … (photo © Telepool)

Genre Drama Category Feature Film Cinema Olaf Kaiser, born in 1959 in Berlin, studied at the Year of Production 2001 Director Olaf Kaiser ”Konrad Wolf“ Academy of Film & Television in Screenplay Holger Jancke Director of Babelsberg. From 1977-1979, he worked as a set Photography Matthias Tschiedel Editor Sabine Brose decorator, production assistant and volunteer in the Music by Rainer Kirchmann Production Design story department at the DEFA-Studio in Potsdam- Anne-Katrin Hendel Producer Olaf Jacobs Production Babelsberg. From 1983-1984, he became an assistant in Company Hoferichter & Jacobs, Berlin, in co-production the story department and from 1986-1990 was a script with ZDF, Mainz Principal Cast Rainer Frank, Petra doctor at the DEFA-Studio. Since 1991, he has been Kleinert, Meriam Abbas, Dietmar Mössmer, Bastian Trost working as a freelance script doctor, writer and director. Special Effects Special Effects, Berlin Studio He has directed such films as Ich bin taub – aber Shooting Studio Babelsberg, Potsdam Length 88 min, nicht stumm (short, 1991), Demokratie üben 2490 m Format 35 mm, color, 1:1.85 Original (short, 1992), Deutschland im Glas (documentary, Version German Subtitled Version English 1993), Wer anhält stirbt (1995) and wrote the Sound Technology Dolby SR With backing from scripts for Der Benzintrick (1997), the Tatort-episode Mitteldeutsche Medienförderung, Kulturelle Filmförderung Berliner Weiße (1997) and Benzin (1999). Sachsen-Anhalt

World Sales: Telepool – Europäisches-Fernsehprogrammkontor GmbH Wolfram Skowronnek, Angelika Schulze AT CA N N E S Sonnenstr. 21 · D-80331 Munich phone +49-89-55 87 60 · fax +49-89-55 87 61 88 MARKET SCREENINGS www.telepool.de · email: [email protected] 45 Erotic Tales: PORN.COM Veteran film director Matty Bonkers, a Hollywood legend, arrives in Berlin for an honorary retrospective tribute. While introducing his film Mockery, he receives a phone call from his producer lying in intensive care at a hospital. Blau needs a favor for old times’ sake. Could Matty finish a porn movie before his legs get broken by Tokyo Tony? Matty reluctantly agrees. On the set, he meets movie star and ex-cello player Inga – and the experience is bizarre, spirited, and uplifting – a comédie humaine.

Genre Erotic Category Short film Year of Bob Rafelson, born in New York City in 1933, is a compulsive drifter Production 2001 Director Bob Rafelson and a Hollywood maverick. After graduating from Dartmouth College, he Screenplay Bob Rafelson Directors of started writing for television, adapting stage productions for Play of the Photography Bernd Löhr, Frank Amann Editor Week. With Bert Schneider and Steve Blauner, he formed BBS Productions, Dirk Grau Music by Peter Rafelson Production the company which produced such hits as Easy Rider and The Last Design Stephan Grebe Producer Regina Ziegler Picture Show. Rafelson made his directorial debut with Head (1968), a Production Company Ziegler Film GmbH & Co rock film featuring the Monkees. Two years later, he made Five Easy KG, Berlin, in co-production with WDR, Cologne Pieces (1970), which won him the Best Director Award from the New York Principal Cast Fabienne Babe, Bob Rafelson, Trevor Film Critics. His other films include: The King of Marvin Gardens Griffiths, Andreas Schmidt, Thomas Morris, Roxana (1972), (1977), The Postman Always Rings Twice Sun and others Length 28 min Format Digital video (1981), Black Widow (1986), Mountains of the Moon (1990), Blow Up 35 mm, color, 1:1.85 Original Version (1991), (1996) and Poodle English Sound Technology Dolby SR Springs (1998). The sequel to Wet (1994), a classic in the Erotic Tales series, PORN.COM features Rafelson in his first major acting role. Fabienne Babe (photo © ZIEGLER KG) FILM GmbH & Co.

Erotic Tales: Verkehrsinsel WHY DON’T WE DO IT IN THE ROAD? Verkehrsinsel – as in ”Traffic Island“ – as in ”Middle of the Road“ – as in Why Don’t We Do It in the Road? Shot on Potsdamer Platz, the busiest corner in New Berlin, this is where a young couple decide to exercise their sexual fantasies by ”doing it“ on some public place, just beyond the pale of voyeurs and eavesdroppers.

Genre Erotic Category Short film Year of Eoin Moore, born in 1968 in Dublin, Ireland, moved to Berlin in Production 2000 Director Eoin Moore Screenplay 1988, where he worked as a soundman and freelance cameraman. Eoin Moore Directors of Photography Bernd Löhr, He studied at the German Film & Television Academy Berlin (dffb), Frank Amann Editors Eoin Moore, Dirk Grau Music graduating with the film Break Even (Plus Minus Null, 1997) by Kai-Uwe Kohlschmidt, Warner Poland Production – winner of the Director’s Promotional Award at Munich 1998 and the Design Stephan Grebe Producer Tanja Ziegler Jury Special Prize at the Torino International Festival of Young Production Company Ziegler Film GmbH & Co KG, Cinema 1998. His other films include: So oder so (short, 1992), Berlin, in co-production with WDR, Cologne Principal Child of Light (documentary, 1992), Digital Video Ballet Cast Isabelle Stoffel, Erdal Yildiz, Thomas Morris, Kirsten (short, 1993), Driver (short, 1993), Loops of Infinity (short, Block Length 28 min Format Digital video Blow Up 1994), Der Duft des Mannes (short, 1994), Storm Rising 1 35 mm, color, 1:1.85 Original Version German (short, 1995) and 9 /2 Minuten (short, 1996), Trance (1996) Subtitled Version English International Festival and Conamara (2000). Moore also received the Promotional Screenings Saarbrücken 2001 Sound Technology Award at Saarbrücken 1999. Dolby SR

World Sales: Atlas International Film GmbH AT CA N N E S Dieter Menz, Stefan Menz, Christl Blum Rumfordstr. 29-31 · D-80469 Munich MARKET SCREENINGS phone +49-89-2 10 97 50 · fax +49-89-22 43 32 www.erotictales.de · www.atlasfilm.com · email: [email protected] 46 Das Experiment THE EXPERIMENT

When former journalist Tarek Fahd, who presently drives a cab in the German town of Cologne, stumbles upon a newspaper ad looking for volunteers for a psychological experiment, he convinces his former boss to commission him to report undercover about the experiment, which seems to be partly funded by the army. Just before Tarek enters the experiment and agrees to live in a mock prison for two weeks, waiving his civil rights, his taxi is hit one night by the car of a young and beautiful woman. Dora has just lost her father, and she and Tarek spend a night together. But the next morning Dora has vanished and Tarek starts his “term” in the “prison” that has been built into the cellar of the university. In the beginning, everyone, “guards” and “prisoners” alike, take it as a game. But when Tarek, who records the proceedings with a miniature camera hidden in his glasses, starts to provoke the “guards”, the situation begins to get out of hand. But the psychologists, who keep a 24-hour surveillance on the experiment, decide not to intervene. An unimaginable nightmare has begun. And the experiment turns into a matter of life and death… Christian Berkel, Moritz Bleibtreu (photo Moritz Bleibtreu © Senator Film) Christian Berkel,

Genre Drama, Psycho-Thriller Category Feature Film Oliver Hirschbiegel had his television debut as Cinema Year of Production 2000 Director Oliver author and director of the TV movie Das Go! Hirschbiegel Screenplay Mario Giordano, Christoph Projekt (1986). In 1991, Mörderische Darnstädt, Don Bohlinger Director of Photography Entscheidung – Umschalten erwünscht Rainer Klausmann Editor Hans Funck Music by Alexander followed. He has won numerous awards for his van Bubenheim Production Design Uli Hanisch, Andrea television work: his crime story episode Kinder- Kessler Producers Norbert Preuss, Marc Conrad, Fritz spiel (1992) from the Tatort series won the Wildfeuer Production Companies Fanes Film, Munich, prestigious Adolf Grimme Award. He also won a Typhoon Film, Hürth, in co-production with Senator Film, Grimme Special Prize and a Golden Lion for Berlin, SevenPictures, Munich Principal Cast Moritz Trickser (TV, 1996) and Das Urteil (TV, Bleibtreu, Maren Eggert, Christian Berkel, Justus von Dohnànyi, 1997), both of which received an Emmy nomina- Oliver Stokowski, Timo Dierkes, Antoine Monot, Jr., Andrea tion for Best Foreign TV Drama. He received the Sawatzki, Edgar Selge Casting An Dorthe Braker Special Bavarian Television Prize 1999 for Todfeinde Effects Arri Digital Length 120 min, 3283 m Format 35 (TV, 1998). He has directed 14 episodes of the mm, color, 1:1.85 Original Version German Subtitled TV series Kommissar Rex (1993), the crime story Versions English, French Sound Technology Dolby Ostwärts (1994), also from the Tatort series, and Digital International Awards Bavarian Film Prize 2001 for the TV movie Rex – die frühen Jahre (1997). Best Direction, Best Cinematography, Best Screenplay With The Experiment is his feature film debut. backing from Filmstiftung NRW, Filmförderungsanstalt (FFA), FilmFernsehFonds Bayern, BKM German Distributor Senator Film Verleih GmbH, Berlin

World Sales: Senator International Inc. · Joe Drake 8666 Wilshire Blvd., 2nd Floor · USA - Beverly Hills, California 90211 GERMAN BOX OFFICE HIT phone +1-3 10-3 60 14 41 · fax +1-3 10-3 60 14 47 1.5 MILLION ADMISSIONS www.senatorfilm.de · email: [email protected]

47 Ein göttlicher Job A GODDAMN JOB

New Year’s Eve 2000. Jonathan’s exhausting 1000-year term as a demi-god is finally over. The blissful paradise of the gods awaits! Actually, things aren’t quite so cool; in fact Jonathan is scared shitless be- cause in a couple of hours he’s got to report to Divine Central where his boss, the Over-Goddess Yolanda, will grill him on his final report. Then he’ll be screwed, because she’ll quickly realize what a mess this lazy, always-wasted demi-god has left behind. Even worse, Jonathan completely spaced out finding himself a replacement, which could mean his having to endure 10 more centuries of this lowly, partial-god crap. He winds up choosing Niklas, of all people, whose only relationship to eternity is with the undying love he’s recently been hung up with. Facing the ultimate drag of yet another thousand wasted years, Jonathan gathers all of his remaining wits to execute his plan. It’s going down on New Year’s Eve, a night that Niklas will remember for a very, very long time. A Goddamn Job takes nobody seriously and leaves nothing sacred. God trips around in threadbare jogging pants, a guardian angel with blazing blue hair is charged with keeping “true love” true, and a clueless comic artist named Niklas finds out that there’s more than one way to get to heaven. Thierry van Werveke, Oliver Korittke (photo © Buena Vista International) OliverThierry Korittke van Werveke,

Genre Comedy Category Feature Film Cinema Year of Pro- Thorsten Wettcke was born in 1974. duction 2000 Director Thorsten Wettcke Screenplay Thorsten His film career began quite early, with his Wettcke Director of Photography Martin Ruhe Editors Brigitta first short films dating back to 1993. In Paech, Camille Younan, Hansjörg Weißbrich Music by Jule Maas, 1995, he broke off his film studies in Mainz Nikolaus Sieveking, Peter Hinderthür Production Design Jürgen to become a scriptwriter for Wüste Schnell, Martin Gnade Producers Ralph Schwingel, Stefan Schubert, Filmproduktion in Hamburg. Since then, Eberhard Scharfenberg Production Companies Wüste he has directed many, and acted in quite Filmproduktion, Hamburg, VCC Perfect Pictures, Hamburg, in co-produc- a few, of his own films, including: tion with NDR, Hamburg, Buena Vista International Filmproduction, Nightmare on Danziger Street Munich, Wüste Film West, Cologne Principal Cast Oliver Korittke, (short, 1993), Fröhlicher Suizid Heike Makatsch, Thierry van Werveke, Anna Loos, Tamara Simunovic, (short, 1994), Gotthold und Gotthilf Oscar Ortega Sánchez, Martin Semmelrogge, Detlef Bothe Casting (short, 1994), Degeneration X (1995) Ingeborg Molitoris Special Effects Peter Wiemker Studio Shooting which received several prizes and consid- Studio Bendestorf Length 83 min, 2271 m Format 35 mm, color, erable recognition, Digital Dope, 1:1.85 Original Version German Subtitled Version English Knut, and Anschlag (shorts, 1996) Sound Technology Dolby Digital SR With backing from and Die Rosenfalle (short, 1997). FilmFörderung Hamburg, Kuratorium junger deutscher Film, Filmbüro NW, Filmförderungsanstalt (FFA) German Distributor Buena Vista International (Germany) GmbH, Munich

AT CA N N E S World Sales: Bavaria Film International · Dept. of Bavaria Media GmbH MARKET SCREENINGS 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] 48 Heidi M.

Heidi M. is in her late forties and has a small store in the pulsating center of Berlin. She goes out in the evenings with her friend Jacqui, but when she is unexpectedly confronted with romantic love, old wounds are opened. At first, she is hesitant to open up to a new man. But then she takes the chance to lead her life in a new direction … Heidi M. is an extraordinary portrait of a woman, with a mix of melodrama, social observation and road movie elements. Katrin Saß (photo Katrin © X Verleih)

Genre Art, Drama, Love Story, Women’s Film Michael Klier, born in 1943 in Karlovy Vary, Category Feature Film Cinema Year of Pro- studied Philosophy and History. Before he duction 2001 Director Michael Klier Screenplay began making films himself, he acted in several Karin Åström Director of Photography Sophie films by and Rudolf Thome, Maintigneux Editor Bettina Böhler Music by Robert among others. His first film Der Riese Matt Production Design Anina Diener Producers (1983), a video documentary about video Manuela Stehr, Stefan Arndt Production Company surveillance, won several international prizes. X Filme Creative Pool, Berlin, in co-production with Thereafter, he developed his artistic signature WDR, Cologne Principal Cast Katrin Saß, Dominique with films such as Überall ist es besser, Horwitz, Franziska Troegner, Ulrike Krumbiegel, Julia wo wir nicht sind (1989) and Ostkreuz Hummer, Kurt Naumann Casting Simone Bär (1991). His film Out of America (1995) Length 90 min, 2616 m Format 35 mm, color, 1:1.85 portrayed a group of former GIs who stayed in Original Version German Subtitled Version Germany after the rest of the troops returned English Sound Technology Dolby SR home. He has also directed a series of film German Distributor X Verleih AG, Berlin portraits about François Truffaut, Jean-Luc Godard, Henri Alekan, and others.

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] 49 In den Tag hinein THE DAYS BETWEEN

Lynn lives with her brother in Berlin. There she enjoys the advantages of family life, without feeling involved in it. She is living without any plan, waiting for whatever the days may bring. During her working hours in a café, she is drowsy. When she earns some money as a disco- dancer, she looks ecstatic. She is impulsive and irrational, sometimes sulky like a child, then overtly responsive to the city’s atmosphere. As her character sways between moods, Lynn’s sex life also sways undecidedly between her boyfriend David, a disciplined professional swimmer who doesn’t share her sense of freedom, and Koji, a Japanese first-year student of German, who shares her sensuality, but not her language. Sabine Timoteo, Hiroki Mano (photo © November Film) Sabine Timoteo,

Genre Drama, Love Story Category Feature Film Maria Speth, born in 1967, studied at the Cinema Year of Production 2001 Director Maria ”Konrad Wolf“ Academy of Film and Television Speth Screenplay Maria Speth Director of in Babelsberg. She attended acting lessons with Photography Reinhold Vorschneider Editor Dietmar Janina Szarek and has worked since 1991 as an Kraus Production Design Heike Wolf Producers editing and directing assistant on various films Brigit Mulders, Klaus Salge Production Company and TV programs. Her films include: November Film, Berlin, in co-production with ZDF, Mainz, Mittwoch (short, 1995), Knastmutter “Konrad Wolf ” Academy of Film & Television, Babelsberg (documentary, 1996), and Barfuß (short, Principal Cast Sabine Timoteo, Hiroki Mano, Florian 1999) – winner of the 3sat Award at Ober- Müller-Mohrungen, Sabina Riedel, Nicole Marischka, hausen 1999. the days between is her Guntram Brattia Length 120 min, 3283 m Format feature debut. 35 mm, color, 1:1.85 Original Version German Subtitled Version English Sound Technology Dolby SR International Festival Screenings Ophüls-Festival Saarbrücken 2001 (in competition), Rotterdam 2001 (in competition), Créteil 2001 (in competition) International Awards VPRO Tiger Award, Rotterdam 2001, Grand Prix du Jury, Créteil, 2001 With backing from Filmboard Berlin-Brandenburg

World Sales: please contact November Film · Brigit Mulders Fritschestr. 79 · D-10585 Berlin phone +49-30-34 70 26 56 · fax +49-30-34 70 26 57 email: [email protected]

50 It Happened in Havana

”Playing Swede“ is slang in Cuba for pretending not to know or playing the innocent one. And the German crook Björn is quite good at it. He goes incognito in the Cuban metropole as a Swedish professor of literature in order to dart the European police. Of all places, he finds an adoptive family in a retired policeman’s household. And on top of that, he falls in love with the daughter. But this doesn’t prevent him from going about his criminal ways. The local street gangsters suffer most of all, as Björn takes away their ”work“. When the police fail to catch him, Havana’s underground world takes it upon itself to hunt down the competition. Peter Lohmyer, Ketty de la Iglesia (photo © ICAIC/Kinowelt) Ketty Lohmyer, Peter

Genre Comedy Category Feature Film Cinema Year of Daniel Díaz Torres was born in 1948 in Production 2000/01 Director Daniel Díaz Torres Havana, Cuba and is one of the most eminent Screenplay Eduardo del Llano Director of Photog- directors in Cuba today. He studied Political raphy Raul Perez Ureta Editor Guillermo S. Maldonado Science at the University of Havana and has Music by Edesio Alejandro, Gerardo Garcia Production worked since 1968 at the Cuban film institute Design Evelio Delgado Producers Camilo Vives, Rainer ICAIC as a directing assistant, critic and instruc- Kölmel, Angel Amigo Production Company ICAIC, tor. He is also chief editor of the ICAIC’s cine- Havana, in co-production with Kinowelt Filmproduktion, matic weekly publication. He presented his first Munich, in association with IGELDO KOMUNIKAZIOA, San film Jíbaro in 1985, but it was his third film Sebastian, IMPALA, Madrid, with participation of TVE, Madrid, Alicia en el pueblo de maravillas (1991) Canal+, Paris Principal Cast Peter Lohmeyer, Enrique that brought him international recognition and Molina, Coralia Veloz, Ketty de la Iglesia, Mijail Mulkay, Rogelio the DAAD Artist’s Program scholarship in Blain Studio Shooting ICAIC, Havana Length 105 min, Berlin. Despite the political turbulence in 2873 m Format 35 mm, color, 1:1.66 Original Version his homeland, he is the only director in Cuba Spanish Subtitled Versions English, German Sound today who has been able to continue to direct Technology Dolby Digital International Festival his own films without having to accept commer- Screenings Berlin 2001, Havana Film Festival New York & cial or ideological concessions. A selection of Chicago 2001 International Awards Audience Award & his films include: Libertad para Luis UPEC Cultural Circle Award, Havana 2000 German Corvalán (1975), Otra mujer (1986) and Distributor Arthaus Filmverleih GmbH, Munich Little Tropikana (1997) among others.

World Sales: Kinowelt World Sales · A Division of Kinowelt Lizenzverwertungs GmbH Jochen Hesse Schwere-Reiter-Str. 35/Geb 14 · D-80797 Munich AT CA N N E S phone +49-89-30 79 66 · fax +49-89-3 07 96 70 67 www.kinowelt-world-sales.com · email: [email protected] MARKET SCREENINGS 51 Kaliber Deluxe BLOODY WEEKEND Dean dreams of being a successful author of thrillers and having lots of money, a beautiful woman and a little house on an island in the South Pacific. But up to now, he has only made it as a prop- erty manager of a holiday camp in the mountains. He is not really committed, mixes up the reservations, and hardly takes care of his duties. At a rather dull party, he meets Romy, an attrac- tive psychology student. Quickly, they become very close and leave the boring party and go to one of the holiday houses in the camp. Dean thinks that the house will be vacant for the coming days. They spend the night together. Ed Novak’s career as a gangster was abruptly ended by a terrible ”accident“, which confined him to a wheel-chair. He now specializes in planning the raids, and his collaborators Toby, Alex and Rochus carry out the work for him. The three men raid a betting office, not knowing that one of the customers is the powerful gangster Honcek, who has manipulated a horse race and now wants to place a high bet for this race. Suddenly, the police arrive, a gun-battle ensues and, in the hail of bullets, Toby jumps into the car with Alex, leaving Rochus behind. Once again, Dean has overslept. When he makes up, Romy is already gone. Instead, Ed, Toby and Alex are sitting in the remote house in the mountains – an ideal place to escape. Unfortunately, they are not only being chased by the police, but also by Honcek. And there is one thing that Dean does not yet know: Romy has given Rochus, who was hitchhiking, a lift in her car. Herbert Fritsch (photo © DOR FILM/Lukas Beck)

Genre Thriller Category Feature Film Cinema Year of Pro- Thomas Roth was born in 1965 in , duction 1999 Director Thomas Roth Screenplay Thomas Austria. From 1985-1994, he worked at Roth, Robert Treichler, Martin Daniel Director of Photog- the Styrian studios of the Austrian Broad- raphy Helmut Pirnat Editor Evi Romen Music by Lothar casting Station (ORF). Today, he is a freelance Scherpe Production Design Christoph Kanter Producer scriptwriter and director and lives in Vienna. Danny Krausz Production Company DOR FILM West, Munich, In addition to documentaries and music in co-production with DOR FILM, Vienna Principal Cast Marek videos, his works include: Sudden Death Harloff, Jürgen Hentsch, Annelise Hesme, Dieter Pfaff, Jürgen (1993), Eine kleine Erfrischung (1994), Tarrach, Herbert Fritsch Casting Barbara Vögel Special Effects Schnellschuss (TV, 1995), The Lake (TV, Matthias Brandhofer Length 107 min, 2928 m Format Super 35 1996) based on the novel by Gerhard Roth, mm, color, cs Original Version German Subtitled Version Blutrausch (1997) his first feature film, English Sound Technology Dolby Digital SRD International based on the novel by Günther Brödl, and Festival Screenings Ghent 2000 With backing from Im Kreuzfeuer (TV, 1998). Austrian Film Institute, Wiener Film Fond, ORF (Film-Fernseh- abkommen), FilmFernsehFonds Bayern German Distributor Kinowelt Filmverleih GmbH, Munich

World Sales: AT CA N N E S Atlas International Film GmbH Dieter Menz, Stefan Menz, Christl Blum MARKET SCREENINGS 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] 52 Konzert im Freien A PLACE IN BERLIN

Like a fossil, the ”Marx-Engels-Forum,“ a large, ambitious monument project from the former German Democratic Republic (GDR), adorns a central and historical spot in the middle of Berlin. Jürgen Böttcher’s experimental documentary incorporates his own footage from 1981–1986 about the creation of this monument into new material, shot exclusively on location at the Marx- Engels-Forum. A vast collage with numerous levels: documentary shots of the artists involved at the time, and above all, intense observations of today’s visitors to this square’s anachronistic monument ensemble. Groups, families, couples, tourists from around the world often have their pictures taken in front of the stiff, stoic figures of Marx and Engels. Percussionist Günther ”Baby“ Sommer and saxophonist Dietmar Diesner are the musical guides through the film, giving it structure, propelling the different kinds of material – partly brittle, strange and even grotesque – to dance. A confrontation with history and art in Berlin’s new center. Günther ”Baby“ Sommer, Dietmar Diesner (photo © 2001 Ö Film) Günther ”Baby“ Sommer,

Genre History Category Documentary Jürgen Böttcher, also known under his pseudonym “Strawalde”, Cinema Year of Production 2001 was born in 1931 and grew up in a small village in the Oberlausitz. Director Jürgen Böttcher Screenplay His childhood being overshadowed by the terror of the Nazi regime, Jürgen Böttcher Directors of Photog- he had a great desire for social change, and joined the Communist raphy T. Plenert, L. Lenski, L. Böttcher, Party at the age of 17. He studied Painting at the Art Academy in G. Becher Editor Gudrun Steinbrück Dresden. However, as a result of rising ideological turbulence, which Music by Günther ”Baby“ Sommer, led to his being blacklisted from the Association of Fine Arts, he Dietmar Diesner Producers Frank was legally prohibited to continue his work as a painter. He then Löprich, Katrin Schlösser Production registered to study Film Direction at the “Konrad Wolf ” Academy Company Ö Filmproduktion, Berlin, in co- for Film & Television in Potsdam in 1955. It wasn’t until the 1980’s production with WDR, Cologne Principal however that his original work as a painter was finally recognized. Cast Günther ”Baby“ Sommer, Dietmar With more than 30 films, he has attained cult status among cineasts Diesner Length 88 min, 2408 m Format and has become a moral and aesthetic authority for his East German Digi Beta Blow up 35 mm, color, 1:1.65 film colleagues at DEFA, the state-owned film studios of the former Original Version German Subtitled GDR. In 1991, he was awarded the Silver Ribbon for his film work, Versions English, French Sound and is also honored with a portrait in the German Parliament. His Technology Dolby SR International films include: Ofenbauer (short, 1962) – winner of the Silver Dove Festival Screenings Berlin 2001 Award, Jahrgang 45 (1965), Martha (1978), Die Frau am (Forum), Visions du Réel Nyon 2001 With Klavichord (short, 1981), Rangierer (short, 1984), In backing from BKM, Mitteldeutsche Georgien (1987), Die Mauer (1990) and many more. Today, Medienförderung German Distributor he lives and works again as a freelance painter in Berlin-Karlshorst. Basis-Film-Verleih GmbH, Berlin

World Sales: please contact Ö Filmproduktion Löprich & Schlösser GmbH · Frank Löprich, Katrin Schlösser Lychener Str. 82 · D-10437 Berlin phone +49-30-4 46 72 60 · fax +49-30-44 67 26 26 email: [email protected]

53 Lale Andersen – Die Stimme der Lili Marleen LALE ANDERSEN – THE VOICE OF LILI MARLEEN

In the summer of 1999, as the German KFOR soldiers in Kosovo settled in their barracks, they turned on the radio to the program “Radio Prizren”. Every evening, the station broadcasted the three-hour program ”Radio Andernach“ from the German army’s radio station ”Soldiers for Soldiers“. News from back home and all the current hits. One evening, a smoky voice from the past came through the radio: Lale Andersen sang ”Lili Marleen“. The film portrays more than just the life story of the singer, it traces the phenomenon of ”Lili Marleen“ and the resulting legend. What was the mix of talent, luck, Zeitgeist and decline that made Lale Andersen world- famous with one song? What is the source of the fascination with the song that, even today, moves the hearts of soldiers? Legend and reality – for behind the singer’s glowing star façade hid a person full of contradiction and inner tragedy. Lale Andersen (photo © Lichtfilm)

Genre Biopic Category Documentary Cinema Irene Langemann was born in the Omsk region of the Year of Production 2001 Director Irene Soviet Union in 1959. She studied Acting and Germanics at the Langemann Screenplay Irene Langemann Tcepkin Theater Academy in Moscow. From 1980-1990, she Directors of Photography Otmar Schmid, worked as an actress, director and theater writer in Moscow. Peter Mucko Editor Inge Schneider Producer In 1983, she began moderating and directing for Russian tele- Wolfgang Bergmann Production Company vision. In 1986, she became director and scene editor at the Lichtfilm, Cologne Principal Cast Norbert Nasch Theater in Moscow. She moved to Germany in 1990 Schultze, Litta Magnus, Michael & Björn Wilke and was an editor at Deutsche Welle TV in Cologne until Length 90 min, 2462 m Format Digi Beta 1997. Since 1997, she has been working as a freelance film- Blow up 35 mm, b/w + color, 1:1.33 Original maker. Her films include: Nirgendwo verwurzelt (1993), Version German/English/Russian Dubbed Die Götter bitte ich um eine Änderung (1994), Version English Subtitled Version English Imperium der Träume (1995/96) – a TV-documentary Sound Technology Mono With backing about the Bolshoi Ballet, Auf Wiedersehen in Berlin from Filmbüro NW (1996/97), Zwischen hier und dort (1997) – a TV- documentary about the writer Giwi Margwelaschwili, Das Ende einer Odyssee (1998) – a documentary about the pianist Rudolf Kehrer, Klasse(n) Klänge (1999), Fit für Leben und Arbeit (2000) and Rußlands Wunder- kinder (1998-2000).

World Sales: please 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]

54 Legion of the Dead

Two guys, William and his side-kick Luke, have just started their trip through the beautiful California desert when they’re kidnapped by the notorious psycho Mike, the Kern River Killer. Securing their escape through hilarious means and the aid of an old friend, they soon stumble into a small desert town where, unbeknownst to them, a mysterious tall blond man and his sadistic henchmen are killing people to create a ”legion“. Here’s where it gets tricky. William falls in love with Geena, the beautiful waitress at the local restaurant and Luke spins out of control hormonally. The restaurant is suddenly attacked by the legion and the tall blond man gives an ultimatum to hand over Geena within two hours or he will personally come in to get her. What is the mysterious secret that Geena and the blond man share? The clock ticks as the ultimatum draws near. The fight against evil has just begun… Michael Carr, Joe Cook, Russell Friedenberg (© X-VISION FILMPRODUCTION) Michael Carr,

Genre Action/Adventure, Fantasy, Thriller Category Olaf Ittenbach, born in 1969, grew up in Feature Film Cinema Year of Production 2000 Director Fuerstenfeldbruck, just outside of Munich. At Olaf Ittenbach Screenplay Olaf Ittenbach Director of the age of 13, he started taking an interest in Photography Holger Diener Editors Thomas Bachmann, make-up and special effects. He began his first Christian Lonk Music by Ralph Wengenmayr, Jaro film Black Past in his spare time – a project Messerschmidt Production Design Michael J. Poettinger that later (1998) turned into a burning interest Producers Michael J. Poettinger, Claudia Quirchmayr and passion for film. His other films are Production Company X-VISION FILMPRODUCTION, Burning Moon (1992) and Premutos Aying-Munich, in co-production with Modern Graphics, Rastatt, (1997). FRAME WERK, Munich Principal Cast Michael Carr, Russel Friedenberg, Kimberly Liebe, Matthias Hues, Hank Stone, Harvey J. Alperin Casting Klaus J. Koch, Claudia Quirchmayr Special Effects DAS WERK, Munich, Olaf Ittenbach, PITT EFFECTS, Munich, Wayne Beauchamp, Los Angeles Studio Shooting Kotter Studios, Hoehenkirchen Length 94 min, 2572 m Format 35 mm, color, 1:1.85 Original Version English Sound Technology Dolby Digital 5.1 Inter- national Festival Screenings Stockholm 2000, International Fantasy Film Festival Brussels 2001 (in competi- tion), Cinénygma Luxembourg 2001 (in competition) AT CA N N E S

World Sales: MARKET SCREENINGS 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] 55 Mädchen Mädchen GIRLS ON TOP

Girls on Top is a romantic, coming-of-age comedy. On her eighteenth birthday, Inken and her friends, Victoria and Lena, watch a film from the seventies about hippie women talking about their liberation and their enormous sexual satisfaction. From that moment on, the three girls are on a mission. They are convinced that their first orgasm will bring them success with their volleyball team, make them pass their final exams and lead them to the sunny side of life. To achieve all that, Inken has to get rid of her macho boyfriend, Victoria has to realize that it’s quality instead of quantity that matters, and shy Lena has to prepare herself to lose her virginity. In the end, the three girls learn to trust their own feelings instead of following forced goals and they all find true love. Felicitas Woll, Diana Amft, Karoline Herfurth Diana Amft, Karoline (photo © OLGA-FILM) Woll, Felicitas

Genre Comedy Category Feature Film Cinema Dennis Gansel, born in 1973 in Hannover, Year of Production 2001 Director Dennis Gansel directed his first films during his studies at the Screenplay Maggie Peren, Christian Zübert Director Academy of Television & Film (HFF) in Munich. of Photography Axel Sand Editor Anne Loewer His films include: The Wrong Trip (short, Music by Tobias Neumann, Martin Probst Production 1995), Living Dead (1996) – a short film Design Ingrid Henn Producers Molly v. Fürstenberg, with Iris Berben, Im Auftrag des Herrn Harald Kügler, Viola Jäger, Tina Fauvet, Matthias Emcke, (short, 1997), and The Phantom (1999) – Thomas Augsberger Production Company OLGA- a TV movie for ProSieben with Jürgen Vogel FILM, Munich, in association with Key Entertainment, Los and winner of the Adolf-Grimme Award, Jupiter Angeles Principal Cast Diana Amft, Felicitas Woll, Award and the 3sat Audience Award. Karoline Herfurth, Max Riemelt, Martin Reinhold, Andreas Christ, Ulrike Kriener, Florian Lukas Casting Nessie Nesslauer Length 90 min, 2462 m Format 35 mm, color, 1:1.85 Original Version German Subtitled Version English Sound Technology Dolby Digital With backing from FilmFernsehFonds Bayern, Bayerischer Bankenfonds, Filmförderungsanstalt (FFA) German Distributor Constantin Film, 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] 56 Milch und Honig aus Rotfront MILK AND HONEY FROM ROTFRONT

The idea for Milk and Honey from Rotfront was born in May 1995 when a group of German filmmakers traveled through the central Asian republics of Kirghizia and Kazakhstan to present German film productions. An eight-hour flight away from Germany at the foot of the Himalayas, they discovered a village with the official name of Rotfront, a left-over from the Stalin period. The pronunciation is German – both in Kirghiz and Russian. The people living there speak an archaic German. But that is not the only reason why the visitor gets the impres- sion of traveling back to the beginning of the 20th century. It’s also the skills and methods applied to the tasks of everyday life. Half of the inhabitants are of German origin, their ancestors having been Mennonites, a German religious minority. While capturing moments of people’s lives, the image arises of a different German culture: the keeping of traditions and adapting to a new culture simultaneously. Scene from ”Milk and Honey from Rotfront“ (photo ”Milk and HoneyRotfront“ © Schwering + Viet Filmproduktion) Scene from

Genre Family, History Category Documentary Hans-Erich Viet was born in 1953 in East Friesland. Cinema Year of Production 2000 Director He studied Philosophy, Politics and Sociology of Art in Hans-Erich Viet Screenplay Hans-Erich Viet Berlin and Belfast, graduating as a political scientist. He is Director of Photography Thomas Keller also a graduate of the German Film & Television Editor Anne Fabini Producer Herbert Schwering Academy (dffb) in Berlin and received a scholarship for Production Company Schwering & Viet the Berlin Scriptwriting Workshop. He has worked in Filmproduktion, Cologne, in co-production with various capacities including in a chemistry lab in East ZDF, Mainz Principal Cast Abraham Falk, Rudolf Friesland, as a social worker in England and Northern Koop, Andrej Wiebe Length 116 min, 3276 m Ireland, and as a forest worker. His films include: Format 35 mm, b&w, 1:1.66 Original Version Karniggels (1991) – co-directed with Detlev Buck, German/Russian/Kirghiz Subtitled Version Schnaps im Wasserkessel (documentary, 1991), English Sound Technology Dolby SR Inter- Frankie, Jonny und die anderen (1993), Luggi national Festival Screenings Berlin 2001 L. ist nicht zu fassen (documentary, 1995), Die (Forum), International Documentary Film Festival rote Hand von Ulster (documentary, 1996/97), Munich 2001 With backing from Filmbüro NW, Geiselfahrt ins Paradies (1997), Schlange auf Kulturelle Filmförderung Niedersachsen dem Altar (1998) as well as several episodes of the TV series Polizeiruf 110 (1999-2000).

World Sales: please contact Schwering & Viet Filmproduktion · Herbert Schwering Alter Markt 36-42 · D-50667 Cologne phone +49-2 21-32 20 53 · fax +49-2 21-32 20 54 email: [email protected]

57 Der Mistkerl THE BLOODY NUISANCE

Pauline is a bright and energetic nine-year-old. And at times, incredibly stubborn. She and her mother, Anna, have been on their own since her father took off for America years ago. Pauline has never liked any of her mother’s boyfriends, so when Anna becomes romantically involved with Pit, she keeps it a secret from her daughter. But Pauline finds out and Anna has to promise never to lie to her again. Pit, it turns out, is a confirmed bachelor who loves his freedom and wants no part of family life. ’As much as it hurts him’, he ends their affair. Anna is devastated and Pauline swears revenge. She is going to make this guy’s life hell. And, at first, she succeeds. But when she finds out that her mother is still in love with Pit, Pauline makes another vow: Pit will learn to love her and live happily ever after with her mom. Reforming him is not easy, but by the time Pauline’s done with him, Pit asks Anna to become his wife. But Pauline’s troubles don’t end there … Ines Nieri, Louis Klamroth (photo Ines Nieri, Louis Klamroth © Telepool)

Genre Family Category Feature Film Cinema Year of Andrea Katzenberger, born in 1962 in Production 2001 Director Andrea Katzenberger Heidelberg, studied Germanics and Theater Screenplay Andrea Katzenberger Director of Studies at the Free University in Berlin, Acting Photography Tore Vollan Editor Sylvia Genzmer at the Max-Reinhardt-Seminar in Vienna, and Music by Mario Schneider Production Design Zazie Film Direction with Hark Bohm at the Knepper Producer Dirk R. Düwel Production University of Hamburg. She was engaged by Company Studio Hamburg, in co-production with ZDF, several theaters in Vienna, Frankfurt, Berlin and Mainz, in cooperation with the Hamburger Filmwerkstatt Hamburg, and in 1988, was one of the founding Principal Cast Ines Nieri, Louis Klamroth, Ingo Naujoks, members of the ”Neue Berliner Volksbühnen“. Anna Loos, Peter Lohmeyer Casting Esther Klostermann Her graduation film Anja, Bine und der Studio Shooting Studio Hamburg Length 90 min, Totengräber (1998) won the ProSieben 2462 m Format 35 mm, color, 1:1.66 Original Newcomer Award in 1998 and First Prize Version German Subtitled Version English Sound at the Chicago International Children’s Film Technology Stereo International Festival Festival in 1999. Her other films include the Screenings Berlin 2001 (Children's Film Festival), Gera shorts: Neukölln: Ein Platz für Kinder 2001, Kristiansand 2001, Giffoni 2001, Chicago 2001, Banff (1995), Stille Wasser (1995), Blindman 2001, Tokyo 2001 With backing from FilmFörderung Blues (1996), and Gleislichter (1997). Hamburg, Medienstiftung Hamburg

World Sales: Telepool – Europäisches-Fernsehprogrammkontor GmbH Wolfram Skowronnek, Angelika Schulze Sonnenstr. 21 · D-80331 Munich phone +49-89-55 87 60 · fax +49-89-55 87 61 88 AT CA N N E S www.telepool.de · email: [email protected] MARKET SCREENINGS 58 Mondscheintarif

Saturday evening: Cora Hübsch recently slept with Daniel for the first time and is now impatiently waiting for him to call her. That is the beginning of this story about love, sex and everyday vanities and forms the basis for telling the story of the encounter between Cora and Daniel in interlinked flashbacks and entertaining episodes. But, it also takes a couple of ironic pot-shots at the complex and sometimes complicated mechanisms of the relationships between women and men. Making use of a variety of narrative stylistic devices, the story constantly drifts off into anecdotes told in loving, detailed fashion about the frequently comical diversions and confusion inevitably accompanying two people finding their way to one another. The main drift of the story is Cora waiting at the telephone in vain. Cora experiences an emotional roller-coaster ride that finally brings her to the insight that ”he“ is not going to call. Cora has coincidence to thank for the fact that she ends up in the arms of her lover this evening as well as the insight that all of the well-meaning tips, bits of advice and wisdom only stood in the way of her finding the man of her dreams. Gruschenka Stevens (photo © Hager Moss Film)

Genre Romantic Comedy Category Feature Film Ralf Huettner studied from 1981-1985 at the Cinema Year of Production 2000/2001 Academy of Television & Film in Munich. In addition Director Ralf Huettner Screenplay Ralf Huettner, to his work as a writer, he has worked on many Silke Neumayer, Barbara Oslejek Director of television and film productions as well as image films Photography Tommy Wildner Editor Horst Reiter and commercials for Die Goldene 1, Siemens, Music by Schallbau, Reamonn Production Design Telekom, OBI, MediaMarkt, Home Jumper, Air Marin Ingrid Buron Producers Kirsten Hager, Eric Moss, and others. His films include: Das Mädchen mit Andreas Schneppe Production Company Hager den Feuerzeugen (TV, 1987), Der Fluch Moss Film, Munich, in co-production with Senator Film, (1988), Babylon (1991), Texas – Doc Snyder Berlin Principal Cast Gruschenka Stevens, Tim hält die Welt in Atem (1993), Voll Bergmann, Jasmin Tabatabai, Bettina Zimmermann Normaaal (1994), the TV-series Um die Casting An Dorthe Braker Length 90 min, 2462 m Dreißig (1994) – winner of the Telestar Award for Format Super 35 mm, color, 1:1.85 Original Best Script in 1996, Dealthline (Der kalte Version German Subtitled Version French Finger, 1995), Cologne’s Finest (Die Sound Technology Dolby SR With backing Musterknaben, 1996) and many more. from FilmFernsehFonds Bayern, Filmboard Berlin- Brandenburg, Filmförderungsanstalt (FFA), German Distributor Senator Film Verleih GmbH, Berlin

World Sales: Peppermint GmbH · Michael Knobloch Rauchstr. 9-11 · D-81679 Munich phone +49-89-9 82 47 08 30 · fax +49-89-9 82 47 08 11 email: [email protected]

59 Muratti & Sarotti MURATTI & SAROTTI – HISTORY OF GERMAN ANIMATION

Using a variety of camera and graphic techniques, this unique animated documentary traces the development of animation as an art – and commercial – form in Germany. The camera roams through a surrealist archive, with animated file drawers that open to reveal the stories and films of such artists as Hans Richter, the noted surrealist, and Walter Ruttmann, whose Berlin, Symphony of a City, started the documentary ”city poem“ movement. Towering above the rest of them is the brilliant Oskar Fischinger, whose marvelously animated musical shorts influenced Norman McLaren, and inspired Walt Disney to make Fantasia. In a near encyclo- pedic approach, director Gockell finds the time to survey the accomplishments of lesser- known, but exceptional talents like Peter Sachs and Oskar Fischinger’s younger brother Hans. Moving from the heady days of the Weimar Republic through the Nazi period and into the post-war era with its divided German states, Muratti & Sarotti demonstrates that an art, once envisioned, can survive any political regime. Scene from ”Muratti & Sarotti“ (photo ”Muratti & Sarotti“ © anigraf)Scene from

Genre Art, History, Educational Category Animation/ Gerd Gockell, born in 1960 in Darmstadt, Documentary Cinema Year of Production 2000 studied Graphic Design and Film in Brunswick. Director Gerd Gockell Screenplay Gerd Gockell, After working as a freelance animator for the Kirsten Winter, Susanne Höbermann Director of Hessische Rundfunk in Frankfurt, he moved to Photography Thomas Bartels Editor Wolf-Ingo Römer London in 1988 and produced several animated Music by Arthur Honegger, Hanns Eisler Production short films. Back in Hanover, he co-founded Design Holger Jaquet, Ute Heuer, Susanne Höbermann anigraf-Filmproduktion in 1990. Since 1992, he Producers Gerd Gockell, Kirsten Winter Production has been teaching Experimental Animation at Company anigraf, Hanover Studio Shooting anigraf, the Brunswick College of Fine Arts. In 2000, he Hanover Length 80 min, 2189 m Format 35 mm, color, became a visiting professor in the Animation 1:1.66 Original Version German/English Subtitled Department at the Kassel Art College. His films Version English Sound Technology Dolby SR Stereo include: Crofton Road SE 5 (1990) – win- International Festival Screenings World Film ner of the Main Prize and Film Critics' Prize at Festival Montreal 2000, Hot Docs Toronto 2000, Ottawa the Oberhausen Short Film Festival 1990, Animation Fest 2000, Hiroshima 2000 With backing Busy Body (1991), Miles, So What from Filmförderung NDR German Distributor (1993), Tossing Pies (1995), and The Edition Salzgeber, Berlin Innocents Abroad (1998). Muratti & Sarotti is his first feature film.

World Sales: please contact anigraf · Gerd Gockell, Kirsten Winter Bödekerstr. 92 · D-30161 Hanover phone +49-5 11-66 01 65 · fax +49-5 11-66 73 27 www.muratti-und-sarotti.de · email: [email protected]

60 Nachts im Park

The brilliant heart surgeon Dr. Steffen Hennings watches his attractive female colleague Dr. Katharina Lumis through the windows of her living room. Since the tragic death of his beloved wife in a car crash he survived, Steffen has not been able to bring himself to do more than admire women from afar. Hidden in the park that borders on Katharina’s back yard, Steffen is spellbound as she lights a cigarette and slowly takes off her clothes. Then he slips quietly away, unaware of a dead woman’s body lying only inches from where he just stood. The next day, police inspector Dremmler storms the hospital and arrests Steffen while he is in the middle of surgery. While Steffen is being interrogated, the police psychologist Dr. Rosenblum barges in and begins to grill the doctor with his hypothesis of how the murder took place. When the irate Katharina also barges in, Steffen takes advantage of the ensuring chaos and takes Rosenblum hostage, fleeing with him. Steffen tries to convince the psychologist of his innocence, but Rosenblum is skeptical; the last time he trusted a suspected killer, one of his colleagues paid for it with a debilitating injury. Pursued by the police as well as killers hired by the dead woman’s fiancé, the two men struggle with their own inner ghosts as they set out to find the truth. Heike Makatsch, Heino Ferch (photo © Beta Film GmbH) Makatsch, Heino Ferch Heike

Genre Thriller Category Feature Film Cinema Year of Uwe Janson, born in 1959, began his career Production 2001 Director Uwe Janson Screenplay with the short film Rastlos (1987). It was only Jens Urban Director of Photography Bogdanski two years later that he directed the highly Editor Ingo Ehrlich Music by Oliver Biehler Production acclaimed feature film Verfolgte Wege Design Bertram Strauß Producers Thomas Springer, (1989), which won a German Camera Award in Helmut G. Weber Production Company Tradewind 1990 and for which he received a Bavarian Film Pictures, Cologne, in co-production with Fama Film, Zurich, Award in 1990 for Best Young Direction. From Avrora Media, Berlin, MMC Independent, Cologne, Teleclub, 1993 to 2000, he directed a series of TV Zurich, SRG/SF DRS, /Zurich Principal Cast Heino movies, among them To Run and To Die Ferch, Heike Makatsch, Pasquale Aleardi Special Effects (1994), The Therapist (1997), Rhapsody Flash Art Studio Shooting MMC Studios, Cologne- in Blood (1998), Whisky Sour (2000) Ossendorf Length 90 min, 2462 m Format 35 mm, and most recently Ms. Cupid (2001). Among color, cs Original Version German Sound Technology the other prizes he has garnered along the way Dolby Surround With backing from Filmstiftung NRW, are a Director’s Promotional Prize at Munich 1989 Mitteldeutsche Medienförderung, Filmförderungsanstalt (FFA) and the Prix de Jeunesse at Locarno 1989. German Distributor Highlight Film, Munich

World Sales: Beta Film GmbH · Dirk Schürhoff Robert-Buerkle-Str. 2 · D-85737 Ismaning phone +49-89-99 56-21 34 / 27 19 · fax +49-89-99 56 27 03 www.betafilm.com · email: [email protected]

61 Nancy und Frank NANCY AND FRANK: A MANHATTAN LOVE STORY

Adapted from the novel Beyond the Horizon by Hans Werner Kettenbach (Diogenes-Verlag), Nancy and Frank is a romantic urban love story, with road-movie elements, between the American student Nancy, financing her studies as an escort-lady, and the German businessman Frank in the melting pot of today’s New York. Hardy Krüger Jr., Frances Anderson (photo © WDR/Dominique Conway) Hardy Krüger Jr.,

Genre Comedy, Drama Category Feature Film Wolf Gremm, born in 1942 in Freiburg, has Cinema Year of Production 2000 Director collaborated closely with Regina Ziegler since his Wolf Gremm Screenplay Jonathan Brett, Wolf debut film I Thought I Was Dead (1973). In Gremm Director of Photography Egon the 1970s, he directed such successful cinema hits Werdin Editor Karola Mittelstädt Set Design as The Brothers, Death or Freedom and Eduard Krajewski Producers Regina Ziegler, the Erich Kästner adaptation Fabian. In the Elke Ried (Ziegler Film Köln), Rainer Bienger 1980s, he directed After Midnight, No (Cinerenta) Production Companies Ziegler Terraced House for Robin Hood, and the Film Köln GmbH, Cologne, Cinerenta/Cinefrank, science-fiction thriller Kamikaze (1989) with Potsdam & Munich, Ziegler Film GmbH & Co KG, Rainer Werner Fassbinder in the lead role. He has Berlin, in co-production with WDR, Cologne also written and directed several tele-features and Principal Cast Hardy Krüger Jr., Frances TV series - in addition to such dramas and thrillers Anderson, , Gottfried John, Jamie as Appointment with Yesterday, I Want Harris Length 93 min, 2544 m Format 35 mm, to Live, Cliffs of Death, Californian color, 1:1.85 Original Version English Quartet, Die Inca Connection, Angel’s Dubbed Version German Sound Technol- Sin, Only a Dead Man is a Good Man, and, ogy Dolby SR With backing from Filmstiftung recently, A Vicious Couple. NRW, Filmförderungsanstalt (FFA) German Distributor Warner Bros. Film GmbH, Hamburg

World Sales: Capitol Films · Sharon Harel 23 Queensdale Place · GB-London W11 4SQ phone +44-20-74 71 60 00 · fax +44-20-74 71 60 12 email: [email protected]

62 Palermo flüstert PALERMO WHISPERS

Mimmo is a poet who learned to write while in exile. His father was a ”boss“ and, as a child, Mimmo repeatedly witnessed violence and murder in Palermo. But he didn’t want to remain silent. The only ”accomplice“ he had to his conscience was a blank sheet of paper, to which he held firmly. When his family discovered his writings, his only choice was to either be killed as a witness or sent away in exile. His father guaranteed his son’s silence to the ”organization“ – but Mimmo was not to return until his father’s death, twenty years later. The re-encounter and reconciliation with his history-laden hometown – Palermo – ”before which the sea stretches out like a carpet that leads to paradise and covers all the violence with gentleness“ – is Mimmo’s last trip to this fascinating city and a breathtaking trip to the world’s most exciting island. Mimmo Cuticchio (photo © Wolf Gaudlitz)

Genre Action/Adventure, Art, Literature Category Wolf Gaudlitz was born in Bavaria and spent his Feature Film Cinema Year of Production 2001 childhood there, as well as in Palermo, Lisbon and Director Wolf Gaudlitz Screenplay Wolf Gaudlitz other parts of the world. He has worked in various Directors of Photography Gerardo Milsztein, capacities, including as an actor, in Italy with Federico Matthias Fuchs, Carolin Dassel Editor Andre Bendocchi Fellini, in Korea with Im Kwon-Taek, and in Germany Alves Music by Toti Basso Production Design with Wolfgang Petersen and Michael Verhoeven, Roberto Lo Sciuto, Mimma Pinsino Producer Wolf among others, and has received several prizes and Gaudlitz Production Company Solofilm, Munich, in awards. On the occasion of various retrospectives of cooperation with ZDF, Mainz, ARTE, Strasbourg, Cultural his films, the Süddeutsche Zeitung wrote: ”Gaudlitz Commission of the City of Palermo Principal Cast makes the kind of European cinema of which others Mimmo Cuticchio, Francesco Di Gangi, Simone Genovese, can only dream.“ His films include: Der Violin- Sergio Lo Verde, Giuseppe La Licata, Toti Palmo, Donatella cellist, Das Mosaik und Fasettenauge, Febraro, Roberto Lo Sciuto, special guest Leoluca Orlando Fluch(t) aus dem Chaos, Winteranfang, Length 89 min, 2435 m Format 35 mm, color/b&w, Aus einem deutschen Requiem (shorts, 1:1.66 Original Version Italian Narrated Versions 1983), Motivsuche für ein Deutschland- English, French, German Subtitled Versions English, portrait (TV, 1984), Ballata Ballaró (TV, 1985), French, German Sound Technology Dolby Digital SR L’opéra oder Musik entsteht aus der With backing from FilmFernsehFonds Bayern Stille (1986), Die Väter des Nardino (1989), German Distributor Solofilm, Munich Blaue Wüste (1992), Gezählte Tage (1993), Taxi Lisboa (1996), and Palermo schreit nicht (TV, 1999). Palermo flüstert is his eighth World Sales: please contact feature-length film. Solofilm · Wolf Gaudlitz Blombergstr. 6 · D-81825 Munich phone +49-89-40 35 95 · fax +49-89-49 63 11 www.carolath.de

63 Photographie und jenseits PHOTOGRAPHY AND BEYOND

Photography and beyond is a series of films dealing with the human accomplishments of design: projects such as writings, drawings, photography, architecture and sculpture. The three new films of the series are Sullivan’s Banks (Architecture as Autobiography – Louis H. Sullivan 1856-1924), The Basis of Make-Up II (Writings and Drawings), Maillart’s Bridges (Architecture as Autobiography – Robert Maillart 1872-1940). A reverse visual process is analyzed here: sight as an expression, not an impression. The eye as the interface between the brain and the outside word, the view as a composing power that projects an idea or is brought to completion through film photography. From the writings, drawings and studies of various architects’ works something indescribable is formed: an expression in film about the objectification of mental thoughts. Maillarts (photo Brücken © Pym Films 1995-2000)

Genre Art, Educational, History Category Heinz Emigholz has worked since 1973 in Documentary Cinema Year of Production 1983 - Germany and the USA as an independent film- 2000 Director Heinz Emigholz Screenplay Heinz maker, artist, cinematographer, actor, author and Emigholz Director of Photography Heinz producer. He has had many exhibitions, retros- Emigholz Editor Heinz Emigholz Sound Design pectives, as well as given lectures and released Heiner Büld, Martin Langenbach, Stephan Konken publications. In 1978, he founded the Pym Films Producer Heinz Emigholz Production Company production company. His films include: Schenec Heinz Emigholz Filmproduktion, Berlin, in co-produc- Tady I,II and III (1973-75), Arrowplane tion with WDR, Cologne Length 38, 48, and 24 min, (1974), Tide (1974), Hotel (1976), Demon 3009 m Format 35 mm, color, 1:1.37 Sound (1977), Normalsatz (1981), The Basis of Technology Dolby SR Stereo International Make-Up I (1984), Die Basis des Make- Festival Screenings Berlin 2001 (Forum) With Up (1985), Die Wiese der Sachen (1987), backing from FilmFörderung Hamburg German Der Zynische Körper (1990), and Distributor Pym Films GmbH, Berlin Miscellanea I and II (2001).

World Sales: Pym Films · Ueli Etter Postfach 63 01 11 · D-10266 Berlin phone +49-30-55 49 03 86 · fax +49-30-55 49 03 96 www.pym.de · email: [email protected]

64 So weit die Füße tragen AS FAR AS MY FEET WILL CARRY ME

Never, ever, underestimate the sheer power of the human spirit and the force of will when it is inspired by love. That's the message of As Far As My Feet Will Carry Me. Based on Josef Martin Bauer’s novel, this true story is the incredible journey undertaken by the German soldier Clemens Forell in his dramatic escape from a Siberian labor camp. Set against the backdrop of a desolate and inhospitable landscape, beset by danger (from both animals and humans), constantly battling the worst nature can throw at him, Forell makes his way, step by step, kilometer by kilometer, towards Persia and the longed-for freedom. Three years it takes him. Sometimes riding on trains, sometimes by boat, mostly on foot, he covers more than 14,000 kilometers, knowing that every step brings him closer to his goal, but never knowing if his next step will also be his last. In December 1952, eight years after he left his family and was sent to fight on the Russian front in a war that was already lost, Forell was finally reunited with his wife and children. Irina Pantaeva, Bernhard Bettermann (photoIrina Pantaeva, © Cascadeur Film)

Genre Adventure, Drama Category Feature Film Cinema Hardy Martins, born in 1963 in Baisingen/ Year of Production 2001 Director Hardy Martins Baden-Württemberg, trained for two years at Screenplay Bernd Schwamm, Bastian Clevé, Hardy the International Stunt Association in Los Martins, based on the novel by J.M. Bauer Director of Angeles and was also taught by Jean Claude Photography Pavel Lebeshev Editor Andreas Marschall Zeferini in Paris for a year. He has worked as Music by Edward Artemyev Production Design Valentin a stuntman and stunt coordinator on such Gidulanov Producers Jimmy C. Gerum, Hardy Martins, productions as Die Katze (1986), Der Sommer Roland Pellegrino, Bastian Clevé Production Company des Falken (1987), Dr. M (1990), Manta – Cascadeur Filmproduktion, Munich, in co-production with der Film (1990), Go Trabbi Go (1991), In CP Medien, , B&C Filmproduktion, Ludwigsburg weiter Ferne, so nah! (1992) and Die Sieger Principal Cast Bernhard Bettermann, Michael Mendl, Irina (1993). In 1996, he founded Cascadeur Pantaeva, Anatoly Kotenyov, Iris Böhm, Andre Hennicke, Filmproduction and, in 1997, took on the Hans Uwe Bauer Casting Heide Woicke Special Effects role of producer, director and lead actor for Jens Döldissen Studio Shooting Belarus Filmstudio, Minsk the film Cascadeur – The Amber Length 158 min, 4323 m Format 35 mm, color, cs Chamber (1998). Original Version German/Russian Subtitled Versions English, French Sound Technology Dolby Digital With backing from Mitteldeutsche Medienförderung, Filmförderungsanstalt (FFA) AT CA N N E S World Sales: please contact Cascadeur Filmproduktion GmbH · Jimmy C. Gerum MARKET SCREENINGS Sendlinger Str. 17 · D-80331 Munich phone +49-89-2 36 69 00 · fax +49-89-23 66 90 44 www.cascadeur.de · www.swdft.de · email: [email protected]

65 Tanz mit dem Teufel DANCE WITH THE DEVIL

The crime that rocked the nation and took over twenty years to solve: 25 years ago, Richard Oetker, heir to one of the largest fortunes in Germany, was kidnapped. For the first time ever, he has agreed to collaborate with a film team to tell his story. It was the crate. To this day, it still unnerves Richard Oetker when he looks back… It is 1976, and Oetker is kidnapped and forced into a wooden crate. The kidnapper demands, and gets DM 21 million, an unheard-of sum at the time. Oetker is freed, but while in the crate he suffers an electric shock that leaves him crippled for the rest of his life. Georg Kufbach, the police agent who found Oetker, begins a quest for justice that will last nearly 20 years. Convinced that a man named Cilov is the kidnapper, Georg, working closely with Oetker, begins to circle in on his prey. Cilov knows he is trapped, but Georg has no proof; Cilov has the money, but Georg has to catch him with it. Like Oetker in his crate, all three are trapped within the narrow confines of their desires and obsessions. All three are inextricably bound together, hurtling towards the startling outcome… Sebastian Koch, Tobias Moretti, Christoph Waltz (photo © Beta Film GmbH) Christoph Waltz Moretti, Tobias Sebastian Koch,

Genre Thriller Category Mini-series Year of Peter Keglevic is one of the most distinctive directors and script Production 2001 Director Peter Keglevic writers in the German film and television business. He began his suc- Screenplay Dr. Rainer Berg Director of cessful career 24 years ago directing the TV movie Im Zossener Photography Hans-Günther Bücking Editor Bad, for which he also wrote the script. This was followed by, Moune Barius Music by Juergen Ecke among others, the feature film Tragique (1977) and the TV movies Production Design Martin Schreiber Der Zauberlehrling (1977), Auf freiem Fuß (1978), Producers Nico Hofmann, Ariane Krampe, Zuhaus in der Fremde (1979) and Die Jahre vergehen Ludwig zu Salm, Patrick Simon Production (1980). In the years that followed, some of his most important works Company teamWorx, Berlin/Munich, in co-pro- were the feature film Bella Donna (1982), The Cop and the duction with KirchMedia, Munich Principal Cast Girl (1985) as well as the TV movies Das Milliardenspiel Sebastian Koch, Tobias Moretti, Christoph Waltz, (1988) and Dort oben im Wald bei diesen Leuten (1989). Günther Maria Halmer, Sophie von Kessel, Ann- From 1993-1998, he directed a series of productions for RTL, among Kathrin Kramer Special Effects Effective, Jens them Kommissar Beck – Der Polizistenmörder (1993), Döldissen Length 2 x 90 min, 4925 Format Der Tag der Abrechnung (1994), Die Roy Black Story 16 mm, color, 1:1.85 Original Version (1996), for which he received a German Golden Lion, as well as the German Subtitled Version English Sound thriller Vicky’s Nightmare (1997) starring Katja Flint and Technology Dolby SR With backing from Christoph Waltz. In 1999, he directed the German-Australian co- FilmFernsehFonds Bayern, ILB Brandenburg production Falling Rocks for ProSieben, starring Claudia Michelsen and Christoph Waltz. Dance with the Devil is his first cooperation with teamWorx and SAT.1. World Sales: Beta Film GmbH · Dirk Schürhoff Robert-Buerkle-Str. 2 · D-85737 Ismaning phone +49-89-99 56 21 34 / 27 19 · fax +49-89-99 56 27 03 www.betafilm.com · email: [email protected]

66 Venus und Mars VENUS AND MARS

Twenty-six year old Kay returns to her hometown, Himmelsgarten, where she meets up again with old school friends: Lisa, who works as a photographer and is visiting from San Francisco; Marie, who lives with her conservative husband in Himmelsgarten and is expecting her fourth child; and Celeste, who is married to a wealthy and considerably older man and plays the role of the spoiled creature of luxury. Despite their different personalities and lives, they are all bound by a decisive factor: the search for ”big“ love and “small” personal happiness. And when Kay’s mother brings out the fortune cards, it seems as though it all comes a bit closer. For when Venus and Mars cross, … Daniela Lunkewitz, Julia Sawalha, Fay Masterson, Julie Bowen (photo © Buena Vista International)

Genre Love Story, Romantic Comedy Category Feature Harry Mastrogeorge has directed over 200 Film Cinema Year of Production 1999 Director Harry productions. He works in New York and Los Mastrogeorge Screenplay Ben Taylor Director of Angeles and was a professor of Theater, Photography Martin Fuhrer Editors Darcy Worsham, Theater Studies and Acting at Brandeis Donn Cambern Music by Nathan Barr Production University and the American Academy of Design Börries Hahn-Hoffmann, Patrick Steve Müller Dramatic Arts in New York. Since 1960, he has Producers Bernd Lunkewitz, Emmo Lempert, Uwe Schott been an instructor at the acting school named in Production Company Atlantis Film, Frankfurt, in co-pro- his honor and is considered to be one of duction with mitteldeutsches Filmkontor (mdF), Leipzig America’s most respected acting instructors, his Principal Cast Daniela Lunkewitz, Lynn Redgrave, Michael students including Robert Redford, Ray Liotta, Weatherly, Fay Masterson, Julie Bowen, Julia Sawalha, Ryan Melanie Griffith, Heather Graham and Djimon Hurst Length 93 min, 2544 m Format 35 mm, color, 1:1.85 Hounsou. His films include: Mystery of Original Version English Dubbed Version German the Sacred Shroud – starring Richard Sound Technology Dolby Digital SDDS/DTS Burton, Desolate Silence, and Cabbages With backing from Mitteldeutsche Medienförderung, and Kings. He has also directed such popular Filmförderungsanstalt (FFA) German Distributor Buena television hit-series as The Mary Tyler Moore Vista International (Germany) GmbH, Munich Show, From Here to Eternity, and Vice.

World Sales: Beyond Group · Gary Hamilton 53-55 Brisbane Street · AUS-Surry Hills NSW 2010 phone +61-2-92 81 12 66 · fax +61-2-92 81 12 61 email: [email protected]

67 Wie Feuer und Flamme NEVER MIND THE WALL

Nele is in love with Captain and Captain is in love with Nele. Sounds all sorted and easy? Well, it’s not because it’s 1982. Nele is living in the western part of divided Berlin; Captain, a punk, is living in the East. In between this young and precious love – the Wall, the parents, the clique, the secret police and, on top of that, a fatal and captious Super 8 film that was not meant to be taken so seriously. However, the two won’t give up, because they realize if you’re not prepared to fight for your love, you’ve lost already … Anna Bertheau, Antonio Wannek (photo © X Verleih AG) (photo © X Verleih Anna Bertheau, Antonio Wannek

Genre Drama, Love Story Category Feature Film Connie Walther studied Sociology and Spanish Cinema Year of Production 2001 Director before switching over to Photography. After gathering Connie Walther Screenplay Natja Brunckhorst experience as a lighting gaffer and production and Director of Photography Peter Nix Editor directing assistant, she studied at the German Film & Ewa J. Lind Music by Rainer Oleak Production Television Academy (dffb) in Berlin and landed her Design Gabriele Wolff Producers Maria Köpf, first success with her graduation film Das erste Stefan Arndt Production Company X Filme Mal (1996), which was recognized as the best gra- Creative Pool, Berlin, in co-production with ZDF, duation film from a German film academy in that year. Mainz Principal Cast Anna Bertheau, Antonio Since then, she has demonstrated her talents with Wannek, Tim Sander, Luise Helm, Aaron Hildebrand, various genres and formats with films such as: Carmen Birk, Michael Krabbe Casting Filmcast Börsday Blues (short, 1992) – winner of the Sabine Schwedhelm Special Effects ARRI Digital Audience Award in Wuppertal and First Prize at the Length 99 min, 2709 m Format 35 mm, color, Fest Festival Asynchron Berlin, Der Clown II (TV, 1:1.85 Original Version German Subtitled 1997), Tic Tac Toe (TV documentary, 1998), Version English Sound Technology Dolby SRD Hauptsache Leben (1998) – winner of the Adolf With backing from Filmförderungsanstalt (FFA), Grimme Award in 1999, as well as an episode of the FilmFernsehFonds Bayern, BKM, Filmboard Berlin- Tatort series, Offene Rechnung (1999). Brandenburg German Distributor X Vereih 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] 68 Zeichnen bis zur Raserei – Der Maler Ernst Ludwig Kirchner DRAW TIL YOU DROP – THE PAINTER ERNST LUDWIG KIRCHNER

”Kirchner’s art is – like Picasso’s – eminently autobiographical.“ In other words, the intention and form of Kirchner’s art are so deeply rooted in reality, yet his life was such a dramatic reaction to critical upheavals, that one can conclude: few artists yield so much of themselves that their work could be described as the focus of an epoch. At the end of the century we can take Kirchner as an example to make a film about the beginning of the century. No one succumbs to the city as fully as he did: enamored, lonely, swept off his feet, lost, disillusioned, fascinated. Berlin is Kirchner’s city. His streetscapes are considered the culmination of his work. They are a highlight of the history of modern painting and the backdrop in our mind’s eye when we seek to capture big-city life Wichtrach/Bern) und Ingeborg Henze-Ketterer, Wolfgang (© by Dr. in the first half of the century. Kirchner is the unvarnished perception of modern life. It hits him in the eye, he reacts, he seeks a form: size, speed, machine, man-eating monster, whore, crowds, razzle dazzle, synchronization of sensations, surrender to the show: cabaret, dance, circus. Kirchner’s art begins in Dresden and the Moritzburg ponds. Berlin is his urban awakening. The war crushes him. He retreats to the Swiss mountains. The span of tension in Kirchner’s life and work makes for suspense-filled drama and should yield an intense film portrayal.

Genre Drama Category Documentary Cinema Year of Michael Trabitzsch, born in 1954 in Neu- Production 2001 Director Michael Trabitzsch Screenplay münster, studied German Literature, Philosophy and Michael Trabitzsch Directors of Photography Rolf Sociology in Göttingen and Berlin. He has worked Klingelhöfer, Pio Corradi Editor Mirijam Krokenberger Music as a freelance journalist and author for radio-fea- by Michael Rodach Producer Michael Trabitzsch Production tures, documentaries, books and periodicals. From Companies Prounen Film, Berlin, Catpics, Zurich, in co-pro- 1987 - 1991, he worked as an assistant director and duction with ARTE, Strasbourg, WDR, Cologne, SFB, Berlin, ORB, assistant producer for Harun Farocki. In 1992, he Potsdam, SRG SF DRS, Bern Principal Cast Maria Brak, Bernd founded Prounen Film in Berlin. His films include: Brenner, Martina Reuter, Monika Richter, Britta Zorn Length A Quiet Rebel. The Sculptor Wieland 86 min, 2506 m Format 35 mm, color, 1:1.66 Original Förster (short, 1992), District of the Version German Subtitled Version English Sound Refugees. A Journey into Jewish Paris Technology Dolby SR With backing from Filmboard Berlin- (1993), Defenseless Hero. The Sculptor Brandenburg, FilmFörderung Hamburg, Kulturelle Filmförderung Werner Stötzer (1995),The Eisenfeld Schleswig-Holstein, Media II, EDI/Sektion Film, Switzerland Family. A Chronicle (1995), The Stones German Distributor MFA Münchner Filmagentur Still Speak (1996), From Thessaloniki to Meinke/Arséguel GbR, Munich Berlin via Auschwitz (1998) and The Marble Road (2001).

World Sales: Telepool – Europäisches-Fernsehprogrammkontor GmbH Wolfram Skowronnek, Angelika Schulze AT CA N N E S Sonnenstr. 21 · D-80331 Munich phone +49-89-55 87 60 · fax +49-89-55 87 61 88 MARKET SCREENINGS www.telepool.de · email: [email protected] 69 Das Zimmer THE ROOM

Sophie and Christoph are looking after a house with a locked room – where everything (…or nothing) can be concealed from others. They project their hidden thoughts and memories into this locked room. ”All houses have a forbidden room“ says Christoph, Sophie’s answer, ”just like our souls.“ Between dream and reality, they develop a labyrinth of emotions. The heart of the story is not the mysterious incidents in the house, but rather the hidden feelings of the occupants. Mira Gittner, Marcus Grüsser (photo Marcus © 2000 wtp-film GmbH) Mira Gittner,

Genre Psycho-Thriller Category Feature Film Cinema Roland Reber has worked as a director and actor Year of Production 2000 Director Roland Reber in theaters in Bochum, Zurich, Essen, Düsseldorf and Screenplay Roland Reber Directors of Photog- for the Ruhrfestspiele Recklinghausen after finishing raphy Roland Reber, Mira Gittner Editor Mira Gittner his Acting studies in Bochum in the 70s. He has writ- Music by Wolfgang Edelmayer Producer Petra ten more than twenty theater plays and scripts as Knieper, Ute Meisenheimer Production Company well as text and lyrics. In 1989, he founded the Welt wtp-film, Geiselgasteig Principal Cast Mira Gittner, Theater Projekt (within the framework of the World Marcus Grüsser Casting wtp-film Special Effects Decade for Cultural Development of the United Mira Gittner Length 70 min, 1915 m Format Digi Nations and UNESCO) and worked as director, Beta Blow Up 35 mm, color Original Version writer and head of WTP in India, Moscow, Cairo, German Subtitled Version English Sound Mexico City and in the Caribbean. He has also been Technology Stereo Mix International Festival cultural advisor to different countries and institutes Screenings International Festival de Cine Mexico 2000, and received the Cultural Prize of Switzerland and the International Film Festival Sitges, Spain 2000, Millenium Caribbean award Season of Excellence as a director Film Festival of Fine Arts, 2000, Angel Citi and writer. In 2000, wtp film and Reber were named International Film Festival Hollywood/Chicago 2001, Producer of the Year by the Bavarian Film Center for International Film Festival of Uruguay, Montevideo 2001, the direction of The Room. His other films include: International Film Festival of Kerala, India 2001, Director’s Ihr habt meine Seele gebogen wie einen View, Stamford/New York 2001, Melbourne Under- schönen Tänzer (1977), Die kleine Heimat ground Film Festival 2001 International Awards (TV, 1978), Manuel (short, 1998), Der Fern- President’s Award Ajijic, Mexico 2000, Emerging Filmmaker sehauftritt (short, 1998), Der Koffer (short, Award, Hollywood 2001 1999), and Compulsion (Zwang, short, 2000).

World Sales: please contact wtp-film GmbH · Bayerisches Filmzentrum Roland Reber Bavariafilmplatz 7 · D-82031 Geiselgasteig phone +49-89-64 98 11 12 · fax +49-89-64 98 13 12 www.wtpfilm.de · email: [email protected] 70 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 92 06 60, 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 Huberstr. 4, D-70174 Stuttgart phone +49-7 11-1 22 28 33, fax +49-7 11-1 22 28 34 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 German Film Exporters’ Association please contact Lothar Wedel Tegernseer Landstr. 75 · D-81539 Munich · phone +49-89-6 92 06 60 · fax +49-89-6 92 09 10

ARRI Media Worldsales Progress Film-Verleih GmbH please contact Antonio Exacoustos jun. DWF please contact Christel Jansen Türkenstr. 89 Dieter Wahl Film Burgstr. 27 D-80799 Munich please contact Dieter Wahl D-10178 Berlin phone +49-89-38 09 12 88 Sörgelstr. 15b phone +49-30-24 00 32 25 fax +49-89-38 09 14 33 D-81477 Munich fax +49-30-24 00 32 22 www.arri-mediaworldsales.de phone +49-89-53 27 21 www.progress-film.de email: [email protected] fax +49-89-53 12 97 email: [email protected] email: [email protected] Atlas International Road Sales GmbH Mediadistribution Film GmbH Exportfilm Bischoff & Co. GmbH please contact Denise Booth please contact please contact Jochem Strate, Clausewitzstr. 4 Dieter Menz, Stefan Menz, Christl Blum Philip Evenkamp D-10629 Berlin Rumfordstr. 29-31 Isabellastr. 20 phone +49-30-8 80 48 60 D-80469 Munich D-80798 Munich fax +49-30-88 04 86 11 phone +49-89-21 09 75-0 phone +49-89-2 72 93 60 www.das-werk.de fax +49-89-22 43 32 fax +49-89-27 29 36 36 email: [email protected] www.atlasfilm.com email: [email protected] email: [email protected] RRS Entertainment Gesellschaft für german united distributors Filmlizenzen GmbH Bavaria Film International Programmvertrieb GmbH please contact Robert Rajber Dept. of Bavaria Media GmbH please contact Silke Spahr Sternwartstr. 2 please contact Michael Weber, Richartzstr. 6-8a D-81679 Munich Thorsten Schaumann D-50667 Cologne phone +49-89-2 11 16 60 Bavariafilmplatz 8 phone +49-2 21-92 06 90 fax +49-89-21 11 66 11 D-82031 Geiselgasteig fax +49-2 21-9 20 69 69 email: [email protected] phone +49-89-64 99 26 86 email: [email protected] fax +49-89-64 99 37 20 and Telepool – Europäisches- www.bavaria-film-international.de Bavaria Media TV Vertrieb Fernsehprogrammkontor GmbH email: [email protected] please contact Rosemarie Dermühl please contact Wolfram Skowronnek Bavariafilmplatz 8 Sonnenstr. 21 Beta Film GmbH D-82031 Geiselgasteig D-80331 Munich please contact Dirk Schürhoff phone +49-89-64 99 36 66 phone +49-89-55 87 60 Robert-Buerkle-Str. 2 fax +49-89-64 99 22 40 fax +49-89-55 87 61 88 D-85737 Ismaning email: [email protected] www.telepool.de phone +49-89-99 56 - 21 34 email: [email protected] fax +49-89-99 56 - 27 03 Kinowelt International GmbH www.betafilm.com please contact Alexander van Dülmen Transit Film GmbH email: [email protected] Schwere-Reiter-Str. 35/Geb. 14 please contact Loy Arnold, Mark Grünthal D-80797 Munich Dachauer Str. 35 cine aktuell phone +49-89-3 07 96 80 66 D-80335 Munich Filmgesellschaft mbH fax +49-89-3 07 96 80 67 phone +49-89-59 98 85-0 please contact Eugen Schaarschmidt, www.kinowelt-filmverleih.de fax +49-89-59 98 85-20 Ralf Faust, Axel Schaarschmidt email: [email protected] email: [email protected] Werdenfelsstr. 81 D-81377 Munich Media Luna Entertainment Uni Media International GmbH & Co. phone +49-89-7 41 34 30 GmbH & Co.KG Produktions- und Vertriebs KG fax +49-89-74 13 43 16 please contact Ida Martins please contact Irene Vogt email: [email protected] Hochstadenstr. 1-3 Bayerstr. 15 D-50674 Cologne D-80335 Munich Cine-International Filmvertrieb phone +49-2 21-1 39 22 22 phone +49-89-59 58 46 GmbH & Co. KG fax +49-2 21-1 39 22 24 fax +49-89-5 50 17 01 please contact Lilli Tyc-Holm, Susanne Groh email: [email protected] email: [email protected] Leopoldstr. 18 [email protected] D-80802 Munich Waldleitner Media GmbH phone +49-89-39 10 25 Metropolis please contact Michael Waldleitner, fax +49-89-33 10 89 Filmvertrieb GmbH Angela Waldleitner www.cine-international.de please contact Luciano Gloor Münchhausenstr. 29 email: [email protected] Schönberger Ufer 71 D-81247 Munich D-10785 Berlin phone +49-89-55 53 41 phone +49-30-26 39 56 30 fax +49-89-59 45 10 fax +49-30-26 39 56 59 email: [email protected] email: [email protected] 72 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, Warsaw);

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 • Cordula Ulrich, PR assistant • 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 74) Publication of informational literature on the current German cinema: KINO-Magazine and KINO-Yearbook; The Export-Union’s budget of presently approx. DM 4 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 both information about new German films as well the FFA. In addition, the six main economic film funds as a film archive; (Filmboard Berlin-Brandenburg, FilmFernsehFonds Bayern, FilmFör- derung Hamburg, Filmstiftung NRW, Medien- and Filmgesellschaft Baden-Württemberg and Mitteldeutsche Medienförderung) have Organization of the selection procedure for the German made a financial contribution, currently amounting to DM 0.45 entry for the OSCAR for Best Foreign Language Film. million, towards the work of the Export-Union. In 1997, the Export- Union and five large economic film funds founded an advisory committee whose goal is the ”concentration of efforts for the The focus of the work: feature films; documentaries with promotion of German film abroad“ (constitution). theatrical potential and shorts that have been invited to the main sections of major festivals. The Export-Union is a founding member of the ”European Film Promotion“, an amalgamation of twenty national film-PR agencies (UNIFRANCE, the Scandinavian film institutes, 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 Piazza Massa Carrara, 6 113-117 Charing Cross Road phone +54-11-49 52 15 37 I-00162 Rome GB-London WC2H ODT phone + fax +54-11-49 51 19 10 phone +39-06-86 20 44 14 / 8 60 54 21 phone +44-20-74 37 20 47 email: [email protected] fax +39-06-8 60 74 75 fax +44-20-74 39 29 47 email: [email protected] email: [email protected]

China & South East Asia Japan USA/East Coast & Canada Lukas Schwarzacher Tomosuke Suzuki Brigitte Hubmann G/F, 71-B Peak Road Nippon Cine TV. Corporation 1202 Lexington Avenue, #352 Cheung Chau, Hong Kong Suite 123, Gaien House New York, NY 10028, USA phone +8 52-29 86 85 55 2-2-39 Jingumae phone +1-2 12-4 39-07 70 e-fax +1-240-255-71 60 Tokyo, Shibuya-Ku, Japan fax +1-2 12-4 39-91 93 email: [email protected] phone +81-3-34 05 09 16 email: [email protected] fax +81-3-34 79-08 69 email: [email protected]

France Spain USA/West Coast Cristina Hoffman Stefan Schmitz Corina Danckwerts 2, Place de Séoul Avalon Productions S.L. Capture Film, Inc. F-75014 Paris C/ Duque de Rivas, 2-2°D 2400 W. Silverlake Drive phone/fax +33-1-49 8644 18 E-28012 Madrid Los Angeles, CA 90039, USA email: [email protected] phone +34-91-3 66 43 64 phone +1-3 23-6 68-01 12 fax +34-91-3 65 93 01 fax +1-3 23-6 68-08 53 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, Katja Nicodemus, D-80331 Munich Hans-Günther Pflaum, Hans-Helmut Prinzler, phone +49-89-5 99 78 70 Rudolf Worschech fax +49-89-59 97 87 30 www.german-cinema.de Translations Simon Kingsley, Lucinda Rennison email: [email protected] Design Group triptychon · agentur für design und kulturkommunikation ISSN 0948-2547 Art Direction Werner Schauer Credits are not contractual for any of the films mentioned in this publication. Printing Office ESTA Druck, Obermühlstr. 90, D-82398 Polling © Export-Union des Deutschen Films Financed by the office of the Federal Government Commissioner for Cultural Affairs and the Media. All rights reserved. No reproduction, copy or transmission of this publication may be made Printed on ecological, unchlorinated paper. without written permission.

74 GERMAN FILM AWARD … and the nominees are:

BEST PICTURE BEST LEADING ACTRESS alaska.de AT CA N N E S Julia Hummer AT CA N N E S CRITICS’ WEEK by Esther Gronenborn NEW GERMAN FILMS in Die Innere Sicherheit Crazy Franka Potente by Hans-Christian Schmid in Der Krieger und die Kaiserin Das Experiment Katrin Saß by Oliver Hirschbiegel in Heidi M. Gran Paradiso by Miguel Alexandre BEST LEADING ACTOR

Die Innere AT CA N N E S Sicherheit CRITICS’ WEEK Moritz Bleibtreu by Christian Petzold in Das Experiment Der Krieger und Marek Harloff die Kaiserin in Vergiss Amerika by Robert Stadlober AT CA N N E S in Crazy CRITICS’ WEEK

DOCUMENTARY FEATURE

AT CA N N E S BEST SUPPORTING ACTRESS Havanna Mi Amor FORUM: ACDO by Uli Gaulke Barbara Auer AT CA N N E S Milch und Honig in Die Innere Sicherheit CRITICS’ WEEK aus Rotfront Franziska Troegner by Hans-Erich Viet in Heidi M. Antje Westermann DIRECTING in Gran Paradiso

Esther Gronenborn AT CA N N E S NEW GERMAN FILMS by alaska.de BEST SUPPORTING ACTOR Christian Petzold AT CA N N E S Justus von Dohnànyi by Die Innere Sicherheit CRITICS’ WEEK in Das Experiment Tom Tykwer Frank Giering by Der Krieger und die Kaiserin in Gran Paradiso Lars Rudolph in Der Krieger und die Kaiserin NEW ADDRESS

as of march 2001 Sonnenstrasse 21 D-80331 Munich phone +49-89-59 97 87 0 fax +49-89-59 97 87 30

GERMAN Export-Union des Deutschen Films GmbH CINEMA www.german-cinema.de · email: [email protected]