DOCSLIB.ORG

The Summer Issue

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Summer Issue 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
Load more

Recommended publications
  • The Bulletin the Bulletin
    The Bulletin The Bulletin [email protected] www.merrickjc.org Spring 2021 [email protected] Vol 22, Issue 1 www.merrickjc.org Page 1 Dear Friends, I have spent almost four months studying each day the Talmud tractate of Pesachim which delves deeply into every possible detail and tradition of Passover. So much about the Passover ritual has evolved over the millennia. The Passover offering gave way to brisket, some of the four questions were reformulated and thank- fully matzah balls and gefilte fish came to supplement the foods on the Seder plate. What always remains the same is the ever powerful story of the miraculous liberation of our people from slavery. Both the Torah narrative and the Haggadah are eternal reminders that in every age unforeseen miracles have turned darkness into light. Almost every page of the Haggadah underscores our people’s way of looking at life-teaching and telling us that Jews never despair of the possibility of the miraculous. Last Passover as COVID 19 became the modern-day incarnation of “The Angel of Death,” we began to feel ourselves virtually help- less in the face of this virus. But as we prepare for this Passover there are three vaccines available and each day over two million people are receiving the lifesaving vacci- nations. That to me is absolutely miraculous. Those shots going into arms is our crossing through the sea- our moment of salvation! Sadly, our joy is diminished knowing that so many never had the opportunity to experience this moment along with us. Some weeks ago I came across a teaching in Pesachim which ties the miracles of Passover back to the time of creation.
    [Show full text]
  • Turkish German Muslims and Comedy Entertainment CURRENT ISSUES in ISLAM
    Turkish German Muslims and Comedy Entertainment CURRENT ISSUES IN ISLAM Editiorial Board Baderin, Mashood, SOAS, University of London Fadil, Nadia, KU Leuven Goddeeris, Idesbald, KU Leuven Hashemi, Nader, University of Denver Leman, Johan, GCIS, emeritus, KU Leuven Nicaise, Ides, KU Leuven Pang, Ching Lin, University of Antwerp and KU Leuven Platti, Emilio, emeritus, KU Leuven Tayob, Abdulkader, University of Cape Town Stallaert, Christiane, University of Antwerp and KU Leuven Toğuşlu, Erkan, GCIS, KU Leuven Zemni, Sami, Universiteit Gent Turkish German Muslims and Comedy Entertainment Settling into Mainstream Culture in the 21st Century Benjamin Nickl Leuven University Press Published with the support of the Popular Culture Association of Australia and New Zealand University of Sydney and KU Leuven Fund for Fair Open Access Published in 2020 by Leuven University Press / Presses Universitaires de Louvain / Universitaire Pers Leuven. Minderbroedersstraat 4, B-3000 Leuven (Belgium). © Benjamin Nickl, 2020 This book is published under a Creative Commons Attribution Non-Commercial Non-Derivative 4.0 Licence. The licence allows you to share, copy, distribute and transmit the work for personal and non- commercial use providing author and publisher attribution is clearly stated. Attribution should include the following information: B. Nickl. 2019. Turkish German Muslims and Comedy Entertainment: Settling into Mainstream Culture in the 21st Century. Leuven, Leuven University Press. (CC BY-NC-ND 4.0) Further details about Creative Commons licences
    [Show full text]
  • Never Look Away
    NEVER LOOK AWAY An original screenplay by Florian Henckel von Donnersmarck 1. INT. DRESDEN ART MUSEUM – DAY KURT, a small 5-year-old boy with steel grey eyes gazes at the distorted, grimacing faces of soldiers from the hands of Otto Dix, the twisted colors and shapes of Kirchner, Heckel and Schmidt-Rottluff, the bizarre world of Paul Klee. At Kurt's side is his AUNT ELISABETH, an 19 year-old blonde of seductive beauty. They are part of a group of maybe two dozen adults, all ears to a self- confidently eloquent EXHIBITION GUIDE: GUIDE (nodding with regret) Modern art. Yes, ladies and gentlemen. Before the National Socialists took charge, Germany, too, had its share of "modern" art, meaning: something different just about every year - as follows from the word itself. Ironic chuckles from the audience. EXHIBITION GUIDE (CONT'D) But the Germany of National Socialism once again demands a German art which, like the entirety of a nation’s creative values, must be, and shall be, eternal. Bearing no such eternal value for its nation, it can be of no higher value even today. As they stroll past paintings of unconstrained prostitutes, yellow hydrocephalic heads, smirking captains of industry, African-style sculptures… EXHIBITION GUIDE (CONT'D) The German woman is ridiculed and equaled to prostitutes. The paintings appear to confirm this. EXHIBITION GUIDE (CONT'D) The soldier is portrayed either as a murderer or as the victim of senseless slaughter, all this in an attempt to destroy the German people’s deeply rooted respect for a soldier’s bravery.
    [Show full text]
  • Anna Magnani
    5 JUL 19 5 SEP 19 1 | 5 JUL 19 - 5 SEP 19 88 LOTHIAN ROAD | FILMHOUSECinema.COM FILMS WORTH TALKING ABOUT HOME OF THE EDINBURGH INTERNATIONAL FILM FESTIVAL Filmhouse, Summer 2019, Part II Luckily I referred to the last issue of this publication as the early summer double issue, which gives me the opportunity to call this one THE summer double issue, as once again we’ve been able to cram TWO MONTHS (July and August) of brilliant cinema into its pages. Honestly – and honesty about the films we show is one of the very cornerstones of what we do here at Filmhouse – should it become a decent summer weather-wise, please don’t let it put you off coming to the cinema, for that would be something of an, albeit minor in the grand scheme of things, travesty. Mind you, a quick look at the long-term forecast tells me you’re more likely to be in here hiding from the rain. Honestly…? No, I made that last bit up. I was at a world-renowned film festival on the south coast of France a few weeks back (where the weather was terrible!) seeing a great number of the films that will figure in our upcoming programmes. A good year at that festival invariably augurs well for a good year at this establishment and it’s safe to say 2019 was a very good year. Going some way to proving that statement right off the bat, one of my absolute favourites comes our way on 23 August, Pedro Almodóvar’s Pain and Glory which is simply 113 minutes of cinematic pleasure; and, for you, dear reader, I put myself through the utter bun-fight that was getting to see Quentin Tarantino’s Once Upon a Time..
    [Show full text]
  • Christian Lerch
    Christian Lerch www.agentur-midpoint.com Agentur MIDPOINT Phone: +49 89 890 58053 Email: [email protected] Website: www.agentur-midpoint.com © Adrian Schätz Information Acting age 38 - 45 years Nationality German Year of birth 1966 Languages German: native-language Height (cm) 194 English: medium Eye color gray green French: medium Hair color Black Dialects Bairisch Stature very slim Instruments Guitar: medium Place of residence München Piano: medium Housing options Wasserburg Am Inn bei Drums: medium München Sport Aikido, Alpine skiing, Horse riding Dance Argentine tango: medium Profession Actor Other Education & Training Hochschule für Musik und darstellende Kunst in Graz Awards 2008 Die Perlmutterfarbe - Prädikat: besonders wertvoll 2006 Wer früher stirbt ist länger tot - Deutscher Filmpreis in der Kategorien: "Bestes Drehbuch" Teilnahme an zahlreichen Festivals u.a. LOLA Festival, Berlinale, Filmfest München Film 2016 In Our Country Role: Leading role Director: Louisa Wagener 2016 Amelie rennt Role: Supporting role Director: Tobias Wiemann 2015 Runter Role: Leading role Director: Katharina Bischof 2012 Rico, Oskar und die Tieferschatten Director: Nele Lena Vollmar 2011 Was weg is, is weg 2010 Der Sommer der Gaukler Role: Vorarbeiter Director: Marcus H. Rosenmüller 2009 Vita Christian Lerch by www.castupload.com — As of: 2021-04- 21 Page 1 of 6 Bernd Trautmann Director: Marcus H. Rosenmüller 2008 Die Perlmutterfarbe Role: Herr Gumberger Director: Marcus H. Rosenmüller 2007 Räuber Kneissl Role: Anton Wörndl Director: Marcus
    [Show full text]
  • BAYERN Der Filmfernsehfonds Bayern Informiert
    3/2007 Juni/Juli FILM NEWS BAYERN Der FilmFernsehFonds Bayern informiert Filmfest München 2007 • Vorgestellt: Ralph Martin & Armin Toerkell, Ingo Fliess • Firmenportrait: Animoto • Caroline Link, Roman Polanski, Hermine Huntgeburth und Max Färberböck drehen für Con- stantin Film • Nordwand EIN FLIEHENDES PFERD in Berchtesgaden • Film- »Lauter Gelungenheiten«: So kommentierte Martin Walser literatur • MEDIA News Rainer Kaufmanns Verfilmung seines Romans. Das Drama mit Ulrich Tukur und Petra Schmidt-Schaller feiert am 30. Juni 2007 als Abschlussfilm des Filmfests München seine Weltpremiere. Foto: Concorde Filmverleih / Gate Film Editorial Special »Visiones Latinoamericanas«. Indepen- Happy Birthday, Filmfest Inhalt München! dent-Förderin Ulla Rapp stellte bereits 1990 Richard Linklater in München mit seinem ersten Medienszene Bayern . .2 Film vor. Als Dank kommt der mittlerweile arri- Kaum hat sich die Filmbranche vom Lust und vierte »Independent«, vom Festival schon zur Kinostarts . .8 Leid der Internationalen Filmfestspiele Cannes Ikone gemacht, mit all seinen Filmen nach Mün- Filmfest München . .10 erholt, kündigt sich schon nachhaltig das Film- chen. Nicht vergessen werden sollte, dass ein TV-Sendetermine . .14 fest München an. Dabei scheint im Prinzip alles zwanzigjähriges Nachwuchstalent namens Leo- Dokumentarfilm . .15 so wie immer zu sein, aber bei den vielen nardo DiCaprio bereits 1995 beim Filmfest seinen In Produktion . .16 Ankündigungen von Filmen, Regisseuren, Schau- Film The Basketball Diaries zeigte und Cannes- spielern und Preisverleihungen steht ein wichti- Gewinner Quentin Tarantino in München Kon- Vorgestellt . .18 ger Fakt fast im Hintergrund: Das Filmfest wird taktversuchen entgegnete, er werde gerne mit Förderung . .21 25! Dabei ist dieses Jubiläum Anreiz, ein wenig in Quentin Tarantino verwechselt. Festivals und Preise . .22 der Historie dieses größten und wichtigsten bay- MEDIA News .
    [Show full text]
  • Presskit HELL
    presents HELL Directed by Tim Fehlbaum Starring Hannah Herzsprung, Lars Eidinger, Stipe Erceg, Lisa Vicari, Angela Winkler Executive Producer Roland Emmerich Produced by Thomas Wöbke, Gabriele Walther, Caligari Film- und Fernsehproduktion in coproduction with Ruth Waldburger, Vega film and Dr. Stefan Gärtner, SevenPictures film CAST Marie Hannah Herzsprung Phillip Lars Eidinger Tom Stipe Erceg Leonie Lisa Vicari The Farmer Angela Winkler CREW Director Tim Fehlbaum Script Tim Fehlbaum, Thomas Wöbke, Oliver Kahl Producer Thomas Wöbke, Gabriele M. Walther Executive Producer Roland Emmerich Co-Producer Ruth Waldburger Camera Markus Förderer Casting An Dorthe Braker Setdesign Heike Lange Costumes Leonie Leuenberger Editing Andreas Menn Music Lorenz Dangel TECHNICAL DETAILS Germany 2011 Running time: 90 min Format: 35mm, 1:2,35, Dolby Digital 5.1 CONTACT INTERNATIONAL PRESS Beta Cinema, Dorothee Stoewahse Tel: + 49 170 63 84 627 [email protected] CONTACT WORLD SALES Beta Cinema, Dirk Schuerhoff/Andreas Rothbauer Tel: + 49 89 67 34 69 80 Fax: + 49 89 67 34 69 888 [email protected] 2 For further information: Beta Cinema Press, Dorothee Stoewahse, Tel: + 49 89 67 34 69 15, Mobile: + 49 170 63 84 627 [email protected] , www.betacinema.com . Pictures and filmclips available on ftp.betafilm.com , username: ftppress01, password: 8uV7xG3tB SHORT SYNOPSIS It was once the source of life, light, and warmth. But now the sun has turned the entire world into baked and barren wasteland. Forests are scorched. Animal carcasses line the roads. Even the nights are dazzling bright. Marie, her little sister Leonie and Phillip are heading for the mountains in a car with covered windows.
    [Show full text]
  • German Films Quarterly 2 · 2004
    German Films Quarterly 2 · 2004 AT CANNES In Competition DIE FETTEN JAHRE SIND VORBEI by Hans Weingartner FULFILLING EXPECTATIONS Interview with new FFA CEO Peter Dinges GERMAN FILM AWARD … and the nominees are … SPECIAL REPORT 50 Years Export-Union of German Cinema German Films and IN THE OFFICIAL PROGRAM OF THE In Competition In Competition (shorts) In Competition Out of Competition Die Fetten Der Tropical Salvador Jahre sind Schwimmer Malady Allende vorbei The Swimmer by Apichatpong by Patricio Guzman by Klaus Huettmann Weerasethakul The Edukators German co-producer: by Hans Weingartner Producer: German co-producer: CV Films/Berlin B & T Film/Berlin Thoke + Moebius Film/Berlin German producer: World Sales: y3/Berlin Celluloid Dreams/Paris World Sales: Celluloid Dreams/Paris Credits not contractual Co-Productions Cannes Film Festival Un Certain Regard Un Certain Regard Un Certain Regard Directors’ Fortnight Marseille Hotel Whisky Charlotte by Angela Schanelec by Jessica Hausner by Juan Pablo Rebella by Ulrike von Ribbeck & Pablo Stoll Producer: German co-producer: Producer: Schramm Film/Berlin Essential Film/Berlin German co-producer: Deutsche Film- & Fernseh- World Sales: Pandora Film/Cologne akademie (dffb)/Berlin The Coproduction Office/Paris World Sales: Bavaria Film International/ Geiselgasteig german films quarterly 2/2004 6 focus on 50 YEARS EXPORT-UNION OF GERMAN CINEMA 22 interview with Peter Dinges FULFILLING EXPECTATIONS directors’ portraits 24 THE VISIONARY A portrait of Achim von Borries 25 RISKING GREAT EMOTIONS A portrait of Vanessa Jopp 28 producers’ portrait FILMMAKING SHOULD BE FUN A portrait of Avista Film 30 actor’s portrait BORN TO ACT A portrait of Moritz Bleibtreu 32 news in production 38 BERGKRISTALL ROCK CRYSTAL Joseph Vilsmaier 38 DAS BLUT DER TEMPLER THE BLOOD OF THE TEMPLARS Florian Baxmeyer 39 BRUDERMORD FRATRICIDE Yilmaz Arslan 40 DIE DALTONS VS.
    [Show full text]
  • Information & Bibliothek
    DVD / Blu-Ray-Gesamtkatalog der Bibliothek / Catálogo Completo de DVDs e Blu-Rays da Biblioteca Abkürzungen / Abreviações: B = Buch / Roteiro; D = Darsteller / Atores; R = Regie / Diretor; UT = Untertitel / Legendas; dtsch. = deutsch / alemão; engl. = englisch / inglês; port. = portugiesisch / português; franz. = französisch / francês; russ. = russisch / russo; span. = spanisch / espanhol; chin. = chinesisch / chinês; jap. = japanisch / japonês; mehrsprach. = mehrsprachig / plurilingüe; M = Musiker / M úsico; Dir. = Dirigent / Regente; Inter. = Interprete / Intérprete; EST = Einheitssachtitel / Título Original; Zwischent. = Zwischentitel / Entretítulos ● = Audio + Untertitel deutsch / áudio e legendas em alemão Periodika / Periódicos ------------------------------- 05 Kub KuBus. - Bonn: Inter Nationes ● 68. Film 1: Eine Frage des Vertrauens - Die Auflösung des Deutschen Bundestags. Film 2: Stelen im Herzen Berlins - Das Denkmal für die ermordeten Juden Europas. - 2005. - DVD: 30 Min. : farb. ; dtsch., engl., franz., span., + mehrspr. Begleitbuch ; dtsch., russ., chin. UT ; NTSC ; V+Ö. (KuBus , 68) ● 69: Film 1: Im Vorwärtsgang - Frauenfußball in Deutschland. Film 2: Faktor X - Die Fraunhofer-Gesellschaft und die digitale Zukunft. - 2005.- DVD: 30 Min. : farb. ; dtsch., engl., franz., span., + mehrspr. Begleitbuch ; dtsch., russ., chin. UT ; NTSC ; V+Ö. (KuBus ; 69) ● 70. Film 1: Wie deutsch darf man singen? Film 2: Traumberuf Dirigentin. - 2006. - DVD: 30 Min. : farb. ; dtsch., engl., franz., span., + mehrspr. Begleitbuch ; dtsch., russ., chin. UT ; NTSC ; V+Ö. (KuBus ; 70) ● 71. Film 1: Der Maler Jörg Immendorff. Film 2: Der junge deutsche Jazz. - 2006. - DVD: 30 Min. : farb. ; dtsch., engl., franz., span., + mehrspr. Begleitbuch ; dtsch., russ., chin. UT ; NTSC ; V+Ö. (KuBus ; 71) ● 72. Film 1: Die Kunst des Bierbrauens. Film 2: Fortschritt unter der Karosserie. - 2006. - DVD: 30 Min. : farb. ; dtsch., engl., franz., span., + mehrspr.
    [Show full text]
  • GSC Films: S-Z
    GSC Films: S-Z Saboteur 1942 Alfred Hitchcock 3.0 Robert Cummings, Patricia Lane as not so charismatic love interest, Otto Kruger as rather dull villain (although something of prefigure of James Mason’s very suave villain in ‘NNW’), Norman Lloyd who makes impression as rather melancholy saboteur, especially when he is hanging by his sleeve in Statue of Liberty sequence. One of lesser Hitchcock products, done on loan out from Selznick for Universal. Suffers from lackluster cast (Cummings does not have acting weight to make us care for his character or to make us believe that he is going to all that trouble to find the real saboteur), and an often inconsistent story line that provides opportunity for interesting set pieces – the circus freaks, the high society fund-raising dance; and of course the final famous Statue of Liberty sequence (vertigo impression with the two characters perched high on the finger of the statue, the suspense generated by the slow tearing of the sleeve seam, and the scary fall when the sleeve tears off – Lloyd rotating slowly and screaming as he recedes from Cummings’ view). Many scenes are obviously done on the cheap – anything with the trucks, the home of Kruger, riding a taxi through New York. Some of the scenes are very flat – the kindly blind hermit (riff on the hermit in ‘Frankenstein?’), Kruger’s affection for his grandchild around the swimming pool in his Highway 395 ranch home, the meeting with the bad guys in the Soda City scene next to Hoover Dam. The encounter with the circus freaks (Siamese twins who don’t get along, the bearded lady whose beard is in curlers, the militaristic midget who wants to turn the couple in, etc.) is amusing and piquant (perhaps the scene was written by Dorothy Parker?), but it doesn’t seem to relate to anything.
    [Show full text]
  • Product Guide
    AFM PRODUCTPRODUCTwww.thebusinessoffilmdaily.comGUIDEGUIDE AFM AT YOUR FINGERTIPS – THE PDA CULTURE IS HAPPENING! THE FUTURE US NOW SOURCE - SELECT - DOWNLOAD©ONLY WHAT YOU NEED! WHEN YOU NEED IT! GET IT! SEND IT! FILE IT!© DO YOUR PART TO COMBAT GLOBAL WARMING In 1983 The Business of Film innovated the concept of The PRODUCT GUIDE. • In 1990 we innovated and introduced 10 days before the major2010 markets the Pre-Market PRODUCT GUIDE that synced to the first generation of PDA’s - Information On The Go. • 2010: The Internet has rapidly changed the way the film business is conducted worldwide. BUYERS are buying for multiple platforms and need an ever wider selection of Product. R-W-C-B to be launched at AFM 2010 is created and designed specifically for BUYERS & ACQUISITION Executives to Source that needed Product. • The AFM 2010 PRODUCT GUIDE SEARCH is published below by regions Europe – North America - Rest Of The World, (alphabetically by company). • The Unabridged Comprehensive PRODUCT GUIDE SEARCH contains over 3000 titles from 190 countries available to download to your PDA/iPhone/iPad@ http://www.thebusinessoffilm.com/AFM2010ProductGuide/Europe.doc http://www.thebusinessoffilm.com/AFM2010ProductGuide/NorthAmerica.doc http://www.thebusinessoffilm.com/AFM2010ProductGuide/RestWorld.doc The Business of Film Daily OnLine Editions AFM. To better access filmed entertainment product@AFM. This PRODUCT GUIDE SEARCH is divided into three territories: Europe- North Amerca and the Rest of the World Territory:EUROPEDiaries”), Ruta Gedmintas, Oliver
    [Show full text]
  • Filmland Brandenburg 2008 Ein Ausschnitt
    FILMLAND BRANDENBURG 2008 EIN AUSSCHNITT Gedreht wurde u.a. in: Althüttendorf Hasenholz Perleberg Altlandsberg Hermersdorf Petzow Bad Wilsnack Herzsprung Potsdam Belzig Kallinchen Potsdam / Babelsberg Bogensee Kremmen und Umgebung Potsdam / Fahrland Brandenburg an der Havel Kleinmachnow Potsdam / Studio Babelsberg Buckow Krampnitz Premnitz Busendorf / Kanin Langerwisch bei Michendorf Pritzwalk Burg Luckau Rüdersdorf Dahlewitz Lübbenau Sacrow Eberswalde Ludwigsfelde Schönhagen Eichwalde Lunow (Oderbruch) Schönhof/Golzow Ernsthot-Bukow Märkische Höhe Siethen Fahrländersee Märkische Schweiz Stahnsdorf Fresdorf bei Wildenbruch Marquardt Stülpe Geltow Michaelisbruch Trappenfelde nahe Roskow Golzow Nauen Trebbin Gottow Netzow Treuenbrietzen / Pechüle Gröben Neu-Brück Velten Großbeeren Nudow Wandlitz Groß Dölln Nuthe-Nieplitz-Niederung Werder Groß Schönebeck Oberbarnim / Ihlow Wittenberge 1. ABGEKOCHT (AT) Produktion/Dt. Koproduzent: Hager Moss Film GmbH Regie: Andreas Senn Schauspieler: Silke Bodenbender, Charly Hübner, Thomas Sarbacher, Jürgen Tonkel, Jan Gregor, u.a. Drehorte: Berlin, Brandenburg: Brandenburg an der Havel 2. ANNA UND DIE LIEBE Produktion/Dt. Koproduzent: Producers at Work GmbH Regie: Cornelia Dohrn, Kai Meyer-Ricks Schauspieler: Jeanette Biedermann, Roy Peter Link, Heike Jonca, u. a. Drehorte: u. a. Brandenburg: Potsdam/Babelsberg 3. BARFUSS BIS ZUM HALS Produktion/Dt. Koproduzent: Janus Film GmbH Regie: Hansjörg Thurn Schauspieler: Christoph M. Ohrt, Martin Brambach, u. a. Drehorte: Brandenburg: Kallinchen 4. BIESTER MÜSSEN STERBEN Produktion/Dt. Koproduzent: Ingolino Productions Regie: Ingo Heise Schauspieler: Florian Bartholomäi, Nikola Kastner, Sinta Tamsjadi, Shirin Azari, Philipp Denzel, Viktoria Meienburg, Oana Solomon, u. a. Drehorte: Brandenburg: Potsdam 5. CRASHPOINT: BERLIN Produktion/Dt. Koproduzent: Hager Moss Film GmbH Regie: Thomas Jauch Schauspieler: Max von Thun, Peter Haber, u. a. Drehorte: u. a. Berlin, Brandenburg: Potsdam/Studio Babelsberg, Schönhagen, Großbeeren 6.
    [Show full text]