GFQ GERMAN FILMS QUARTERLY THE SUMMER ISSUE NEW GERMAN FILMS IN LOCARNO, VENICE, TORONTO & SAN SEBASTIAN DIRECTORS Karin Jurschick & Marco Kreuzpaintner PRODUCER Felix von Boehm of Lupa Film ISSUE 3-2019 ACTRESS Anne Ratte-Polle CONTENTS GFQ 3-2019 16 18 20 21 22 23 25 26 27 29 30 33 2 GFQ 3-2019 CONTENTS IN THIS ISSUE PORTRAITS NEW DOCUMENTARIES PRACTICING POLITICAL DOCUMENTARY ANOTHER REALITY A portrait of director Karin Jurschick .............................................. 4 Noël Dernesch, Olli Waldhauer ...................................................... 30 “MY WORKSPACE IS MY HAPPY PLACE” B.B. UND DIE SCHULE AM FLUSS A portrait of director Marco Kreuzpaintner ...................................... 6 B.B. AND THE SCHOOL BY THE RIVER Detlev F. Neufert .............................................................................. 30 REMAINING INDEPENDENT A portrait of production company Lupa Film ................................. 8 INTERTANGO – EINE VERBINDUNG FÜRS LEBEN INTERTANGO – A CONNECTION FOR LIFE A WOMAN OF MANY TALENTS Hanne Weyh .................................................................................. 31 A portrait of actress Anne Ratte-Polle ............................................ 10 MATERA. VERBORGENE HEIMAT MATERA. MOTHER OF STONE NEWS & NOTES ................................................................................ 12 Alessandro Soetje ............................................................................ 31 NEW FEATURES NEW SHORTS 7500 BOJE Andreas Cordes, Robert Köhler ............................................. 32 Patrick Vollrath .................................................................................. 16 DEINE SCHÖNE GESTALT CRESCENDO #MAKEMUSICNOTWAR BEAUTIFUL YOU Bernadette Kolonko .......................................... 32 Dror Zahavi ...................................................................................... 17 NACH ZWEI STUNDEN WAREN ZEHN MINUTEN VERGANGEN DIE DREI !!! AFTER TWO HOURS, TEN MINUTES HAD PASSED THE THREE !!! Viviane Andereggen ................................................ 18 Steffen Goldkamp ............................................................................. 33 FISCH FÜR DIE GEISEL SUMMER HIT Berthold Wahjudi .................................................... 33 FISH FOR THE HOSTAGE Steffen Cornelius Tralles ........................ 19 SUZANNE – VON KOPF BIS FUSS FREIES LAND PORTRAIT OF SUZANNE Izabela Plucinska ................................... 34 FREE COUNTRY Christian Alvart ..................................................... 20 UPCOMING FILMS DAS FREIWILLIGE JAHR A VOLUNTARY YEAR AUERHAUS Neele Leana Vollmar .................................................... 35 Ulrich Köhler, Henner Winckler ...................................................... 21 FABIAN Dominik Graf ..................................................................... 35 GIRAFFE Anna Sofie Hartmann ..................................................................... 22 DAS GLASZIMMER Christian Lerch ............................................... 35 LARA GUNDERMANN REVIER Grit Lemke ............................................... 36 Jan-Ole Gerster .............................................................................. 23 HELLO MY FRIEND Bettina Blümner .............................................. 36 MEIN ENDE. DEIN ANFANG RELATIVITY Mariko Minoguchi ........................................................ 24 RÄUBERHÄNDE lker Çatak ............................................................ 36 PELIKANBLUT RESISTANCE – WIDERSTAND Jonathan Jakubowicz .................... 37 PELICAN BLOOD Katrin Gebbe ....................................................... 25 ROLAND REBERS TODESREVUE Roland Reber ........................... 37 REST IN GREECE Florian Gottschick ........................................................................... 26 SCHATTENSTUNDE Benjamin Martins .......................................... 37 TRAUMFABRIK TRÜMMERMÄDCHEN Oliver Kracht ................................................ 38 Martin Schreier ................................................................................. 27 DER ÜBERLÄUFER Florian Gallenberger ....................................... 38 VERA Waldemar Oldenburger .................................................................. 28 UNDINE Christian Petzold .............................................................. 38 DAS VORSPIEL UND MORGEN DIE GANZE WELT Julia von Heinz .......................... 39 THE AUDITION Ina Weisse ............................................................. 29 THE WAY WE WERE Marten Persiel ............................................... 39 Shareholders & Supporters ............................................................ 41 Film Exporters ................................................................................. 42 Imprint .............................................................................................. 43 3 DIRECTOR’S PORTRAIT GFQ 3-2019 Karin Jurschick (© HFF München/Robert Pupeter) (© HFF München/Robert Karin Jurschick PRACTICING POLITICAL DOCUMENTARY A PORTRAIT OF DIRECTOR KARIN JURSCHICK 4 GFQ 3-2019 DIRECTOR’S PORTRAIT home, which ended with my mother’s suicide, was always connected to the ‘big (hi)story’. I had the feel - ing I was experiencing an invisible war that had strayed into our private life, strongly in- fluenced by the wars they had experienced.” She made this clear in the film using a complex montage tech- nique and a reflectively distanced style, which also condenses pri- vate history into an analytical view of German post-war so- ciety. At the premiere of the film at the Inter - national Forum during the Berlinale 2001, audiences and critics were electrified, and many other festivals and prizes were to or me, making documentaries difficult: there, it’s obviously confusing for follow. And suddenly Jurschick had become “ means immersing myself in an someone to be a good guy and a bad guy a celebrated “filmmaker” due to her unex- experience. Of course planning simultaneously.“ Perhaps this was also one pected success. Fis necessary, but during the reason why an attempt to involve the US work process I hand over control and open broadcasting station PBS in the pro duction It presented an opportunity and a challenge up to what is and whatever I can perceive. failed. But primarily, Jurschick believes, that at the same time. Jurschick went on to deal Even if that throws my previous opinions was probably fear of domestic audiences re- with wars, crises and (above all sexualized) overboard and leaves me with more ques - jecting the idea of a German telling them violence later: the vicious circle of prostitu- tions than answers.” anything about America. tion and trafficking in women that inter - national aid organizations had helped to This is an attitude with which director Karin Jurschick’s film career also began by ap- trigger during the Balkan wars (THE PEACE- Jurschick also confronts current develop- proaching a man with a very special charac- KEEPERS AND THE WOMEN, 2005), the con- ments in the genre, which are focusing ter: the director’s father, with whom she had sequences of Chernobyl (THE CLOUD, 2011), increasingly on the formatted. Her most broken off contact after her mother’s early or the complex of drones, AI and hi-tech recent work conveys this open approach in suicide. Born in Essen in 1959, she studied warfare (WAR AND GAMES, 2016). “I am a practical way. PLAYING GOD portrays film and media studies and then made a driven by the desire to find a visual form for US star lawyer Ken Feinberg, who is com- name for herself as a journalist and co- something that doesn’t produce a clear missioned by the government to determine founder of the first and largest German image, something that is complex and compensation for victims of the 9/11 attack women’s film festival, the Feminale in painful. In terms of content, my interest has or the Deepwater Horizon explosion, for Cologne, especially in the feminist film always focused on systemic questions,” she example, and shows the often apparently scene. But at some point, the past developed says in respect to the source of her creative cynical outcome of his work. Here, Jurschick into too big an issue. And at the age of 40, energy. And obstacles? balances brilliantly between rejection and Jurschick returned to her old apartment, sympathy, attention for the contradictory where her 91-year-old father was still living. On the one hand, “documentary films that do person himself and insight into his inte - She had brought along many questions – and not follow classic dramaturgy involving a gration into a tight web of legal and eco - a camera as a means of approach and hero’s journey but aim instead at recognition nomic guidelines. It is a highly political film, distancing at the same time. and questioning, are rarely accepted by which premiered at Hot Docs in Toronto in festivals today.” Another urgent task for 2017. This emotionally intense work with her filmmakers worldwide are the new “toys and father was also good schooling for later technologies” that are driving them forward Recently, Jurschick also presented it at the work with difficult protagonists. It resulted at a continually increasing pace. For two EN COUNTERS Documentary Film Festival in in a film (DANACH HÄTTE ES SCHÖN SEIN years, Karin Jurschick has also faced a new Cape Town and reported how surprised she MÜSSEN) with a sober precision that pro - responsibility as a professor at the Univer- was