Requiem (Germany, 2006) AS/A2 Film and Media Study Guide Dir. Hans-Christian Schmid

Written by Maggie Höffgen Requiem (Germany, 2006) AS/A2 Film and Media Study Guide

Introduction

1. Curriculum References

WJEC A2 Film Studies: Requiem is suitable for the small-scale research project in FS4, where it can serve as the focus film, with reference to two other films which deal with a related topic: The Exorcist, and The Exorcism of Emily Rose. Obvious points of comparison would be genre, star/performer or auteur. In FS5, World Cinema, Section A, the emerging New Wave of German Cinema could provide a focus of study, in Section B, Requiem could be used for close textual study. In FS6, Critical Studies, Section A, The Film Text and Spectator: Specialist Studies, the focus could be on ‘Shocking Cinema’, again comparing Requiem to The Exorcist and The Exorcism of Emily Rose. Another possible focus could be ‘Genre and Authorship’.

AS/A2 Media Studies: Requiem is a contemporary film suitable for discussion in relation to media language and narrative or as the focus for critical research/independent study.

2. Themes

The film deals with themes such as mental illness, religious issues, social issues, family, relationships, young people, closed communities. Credits Requiem Germany 2005

Crew Director and Producer Hans-Christian Schmid Screenplay Bernd Lange Cinematography Bogumil Godfrejow Set Design Christian M. Goldbeck Editing Hansjörg Weissbrich Running Time 93 mins BBFC certificate 12a UK Distribution Soda Pictures

Cast Michaela Klingler Sandra Hüller Karl Klingler Burghart Klaussner (father) Marianne Klingler Imogen Kogge (mother) Helga Klingler Friederike Adolph (sister) Hanna Imhof Anna Blomeier (university friend) Stefan Weiser Nicholas Reinke (boyfriend) Gerhard Landauer Walter Schmidinger (parish priest) Martin Borchert Jens Harzer (young priest)

Requiem (Germany, 2006) AS/A2 Film and Media Study Guide

Director

Hans-Christian Schmid was born in 1965 in the small town of Altötting in Bavaria, a place of devout Catholicism and pilgrimage. However, he did not grow up in a Catholic family. His parents were liberals who brought him up accordingly. The 1980s in Germany were characterised by massive protests against NATO decisions to deploy nuclear weapons directed at the Eastern Bloc on German soil. (Those were still the days of the Cold War, something we cannot imagine any more nowadays!) The fight against things nuclear was also directed at power stations in Germany and nuclear waste storage. Hans- Christian Schmid went to a left-wing grammar school, and was more interested in peace demonstrations and the Green Party than in going to church. However, the strong impressions made on him by his Catholic surroundings remained with him and inspired some of his interests as a filmaker.

Schmid studied at the Munich Academy of Television and Film, where he specialised in documentary filmmaking. In his graduation film of 1992 he turned for the first time to the topic of “organised devoutness” in his place of birth. Subsequently he received a scholarship for a scriptwriting workshop in Los Angeles, where he met Michael Gutmann, who became a long-time collaborator on Schmid’s screenplays.

His debut film was made for television in 1994, and dealt again with Image: Director Hans-Christian Schmid religion, exploring the influence of a Christian sect on a young girl and the consequences of religious fanaticism.

For his next three films he turned to the subject of youth. Apart from “growing pains” all of them also dealt with family values and social reality in contemporary Germany. The first of these was a comedy:It’s a Jungle Out There (1995), in which the 17-year-old daughter of a relatively well-to-do family in rural Bavaria runs away to the big city, just for one day, for a singing audition. For this film he discovered Franka Potente, who went on to become Germany’s new face in film (and later was the flame-haired heroine of Run Lola Run of 1998). From this film onwards the film festivals and critics in Germany took note of Schmid, not least for his ability to spot new acting talent.

His next film,23 (1998), was a much darker piece – set in the 1980s, against the Cold War, he tells the story of a troubled young man who becomes a successful computer hacker working for the KGB. Ultimately though, his obsessions become paranoia, and he sees conspiracies everywhere. The film ends with him committing suicide. This was also Schmid’s first film to be based on true events, an approach that he would employ in all his subsequent films.

When working on Crazy (2000), a more light-hearted film about a young man’s difficulties in life, he already knew that he would from now on turn to other issues. He became interested particularly in ensemble pieces, and set out to make an episodic film, Lichter (2003), which told several stories about different characters, unified by the geographical setting and by events unfolding over approximately 36 hours. The setting is the German-Polish border, the characters are refugees from the Ukraine, a poor Polish taxi driver, and Germans who either use the border “between rich and poor” (Schmid) to their own advantage or who suffer adversity themselves. It is a powerful portrayal of life on the Image: Crazy (2000) margins, made even more powerful by its observational style and non- melodramatic approach. Schmid as Auteur

“I am interested in stories that reflect German reality and my own social environment. However, I am not interested in reproducing reality, but more in interpreting it, in the subjective approach of the author.” This quote of Schmid’s is a succinct statement of his approach. How does it work?

Several aspects contribute to the successful implementation of this vision. They can be found in his visual (and aural!) style, his work with actors, the stories he unearths and the way he transforms them into screenplays:

There is a clear development towards a more and more distinctive visual style in Schmid’s films over the years. This is evident above all in his camera work. He tends to use handheld cameras which can be used very flexibly to create an immediacy and Requiem (Germany, 2006) AS/A2 Film and Media Study Guide

authenticity usually found in documentaries. His mise-en-scène looks “unstructured” but is actually carefully worked out to achieve this authentic look. The documentary feel is emphasised by his use of sound. Again there is a development in his work towards less and less extra-diegetic sound. Quite strikingly in Lichter, there is merely a hint of composed film music, mainly just a few notes on the piano. In Requiem music from the 1970s does play an important role. But it is sparsely used to reflect the mood of the time. Schmid insists that composed film music often patronises the viewer.

Schmid is much noted for his work with actors. For him casting is, next to the screenplay, the most important aspect of filmmaking. In each of his films he has cast non-professional actors alongside theatre actors whose first foray into film acting it was, and, like many other auteurs, has over the years established an ensemble that he works with regularly.

Throughout his work we can trace his interest in “German reality”. In his earlier films he focused on young people and what it is like to grow up in contemporary Germany. There is a strong sense of social and political issues embedded in most of his films, e.g. in 23 the young man is involved in protest actions against nuclear waste storage – a prevalent issue in Germany in the 1980s. In Lichter Schmid focuses on issues of immigration. In addition, from 23 onwards, his young people always grapple with more than growing up, they suffer from mental problems, physical disability, lack of family life, and in Requiem, an excessive religious upbringing. Schmid keeps his eye firmly on social reality, in every detail of his representation.

Image: Lichter (2003)

The New Wave

Hans–Christian Schmid is part of a renaissance of German cinema, which has cautiously begun to be termed “New Wave”. Some New Waves come about because a group of filmmakers decide they are going to do things differently to the way they were done before – e.g. the French New Wave, the Young German Cinema of the sixties/seventies, or the Dogme 95 filmmakers. Others emerge more slowly, without a manifesto, they are part of a wider change in a society or culture, and this where the New German Wave is situated.

Germany, which was reunified in 1990 after 50 years of separation into an Eastern Bloc state (the GDR) and a Western democratic state (FRG) has gone through tremendous changes in the last 15 years or so. It has experienced a strong economic downturn with the inevitable results of hardship for many. Reunification of the two Germanys has brought about other social issues; the process of growing together is still going on. These issues have been given a strong voice in film culture by young directors from east and west Germany.

There are also issues around immigration, mainly from Turkey. Turkish immigrants have been coming to Germany for more than forty years, but it is only recently that there have been significant self-representations ofTurkish-German filmmakers.

A new film culture has developed all over Germany, with the main centres being Berlin, Munich and Hamburg, which also have renowned film schools. Germany’s federalism ensures that film-funding is spread around the country; every individual federal state has its own system of subsidies, which encourages local production, particularly of first features. Requiem (Germany, 2006) AS/A2 Film and Media Study Guide

Unlike in previous “waves” or “movements” of German cinema, the new filmmakers do not only see themselves as auteurs, but also as popular filmmakers. This new approach has contributed to their appeal at the box office. In the last few years their films have not just won awards at film festivals and been praised by critics, but also loved by audiences, and not just in Germany. Still it is difficult for the smaller-scale projects to gain international distribution. Hans-Christian Schmid is a good example for this. Requiem is his sixth feature film but his first to be released outside Germany. The Film – Requiem

The film is loosely based on real events which took place in Germany in the 1970s. In the filmAnneliese Michel becomes the 21-year-old Michaela Klingler. Before going to university she has spent all her life in a small town in Southern Germany where she has grown up in a deeply religious family. Despite her long battle with epilepsy, Michaela yearns to leave home and study at university. At first, everything seems to be going well – her first taste of freedom brings romantic involvement and friendship. But soon, cracks appear once again and she has a breakdown. Her suffering becomes worse than before; she sees faces and hears voices. The need for psychiatric help and her growing conviction that she is possessed by demons are opposing forces. Eventually the religious and moral ties binding Michaela to her family win and she agrees to an exorcism.

“Exorcism is the word used in various religions to designate the practice of ‘casting out’ demons or even Satan himself from persons, animals or objects. Exorcism is still part of Catholic teaching and liturgy today. … Only an ordained priest can carry out the major exorcism, and he needs a special permission from the bishop. … The Catholic Church has been training exorcists under Pope John Paul II, and continues to do so under Benedict XVI” (Requiem Press Notes).

Like other films dealing with exorcism before, Requiem could have been a horror film or a thriller, or a combination of both. However, Hans-Christian Schmid’s sharply observant yet understanding eye, and the skills of translating his observations into a narrative film, turn this feature into the portrait of “a fragile human being at sea in a world of moral ambiguity” (Requiem Press Notes).

Sandra Huller in the lead is a theatre actress whose first film role this is.The critics are unanimous in their praise for her performance. Together withJulia Jentsch from Sophie Scholl – The Last Days, she has been described as the most exciting new face in German film for many years. Suggestions for discussions or research projects

Requiem as a focus film

1. Mise-en-scène and cinematography are very carefully worked out in every detail of the film.Together they give very clear signals about the time in which the film is set. On the other hand there is a timelessness around the community in which Michaela has grown up. Why do you think Schmid has taken such an approach and how does he achieve these two effects at once?

2. Find out what the title “Requiem” means exactly. Then discuss why Schmid has given his film this particular title.

3. Requiem is about much more than religious fanaticism and exorcism. You could almost argue that those issues are not really the main focus of the film. Would you support that statement? If yes, how would you describe the centre of the narrative?

4. The characters around Michaela: “They’re all doing their best for her: they’re loving her to death.” Would you agree with this statement or are there exceptions?

5. In a scene fairly early on in the film Michaela is dancing by herself in a disco. How would you interpret this scene with regard to her state of mind? What does it signify in your opinion?

Requiem (Germany, 2006) AS/A2 Film and Media Study Guide

6. The (found, not composed) music plays an important part in Requiem even though it is used sparsely. When and how is it used and what effect does it have on you?

7. Performance: Schmid’s actual screenplays often differ considerably from the original scripts. Why do you think this might be? Can you find instances in Requiem where this might have been the case?

8. Performance: In general, discuss the differences between film and theatre acting. Then compare your answers with the following excerpt from an interview with Sandra Huller, who plays Michaela in Requiem:

How did you perceive the difference between film and theatre?

The hardest part is that there isn’t as much intensive preparation and rehearsal time as in the theatre. In fact, a character already has to be fully fleshed out before the shooting begins. But on the other hand, you can also pour some of what you’re feeling on the particular day into your work. And the concentration during a shoot is much greater than in the theatre, where it can happen that you aren’t at your best one day and make no progress at all for a whole day of rehearsals. You can’t allow yourself this luxury when shooting a film. I can’t give a more detailed answer since this was my first film.

Will you continue to pursue a parallel career as film and stage actress?

Absolutely, both are really wonderful. I have been a permanent member of the ensemble in Basel for nearly four years now. That is where I work, live and feel well looked after, among people I know and with whom I work every day. Contrasting with this is how Hans-Christian compared a film shoot with a school trip: you are with a group of people at one particular place and are very busy with one particular topic, then it is over. It’s a welcome change, and I wouldn’t want to miss either one. (Taken from Soda Pictures Press Notes, complete interview on their website)

9. Representation: How is the Catholic Church represented in the film? Find as many concrete examples as possible.

Requiem (Germany, 2006) AS/A2 Film and Media Study Guide

Film Text and Spectator – Focus on “Shocking Cinema”

10. Requiem definitely has a powerful effect on the spectator. It is disturbing, challenging, but it achieves this in quite different ways from two mainstream films that deal with the same or a similar subject: The Exorcist (1973) and The Exorcism of Emily Rose (2005).

These two films have been variously described as “Psychological Drama”, “Horror”, or “Thriller”.You will surely know The Exorcist, but if you have not seen Emily Rose a trailer can be found at http://www.sonypictures.com/homevideo/ theexorcismofemilyrose/index.html. What genre best describes the two films in your opinion? In comparison, how would you describe Requiem? What are the main differences between the effects on the spectator that these three films generate?

Image: The Exorcist (1973) Image: The Exorcism of Emily Rose (2005)

Hans-Christian Schmid as auteur

11. “Based on a true story”… Trace how Schmid creates realistic film narratives in a selection of his films.

12. Schmid shoots on location, but he compares film work with theatre work. How does he reconcile this apparent contradiction and how is this approach expressed in his films?

13. Performance: Schmid gives his actors great freedom. How does this come across in his films? Can you give concrete examples?

14. It is worth comparing two of his films in particular: 23 and Requiem. What parallels/similarities can you find?

Image: 23 (1998)

Requiem (Germany, 2006) AS/A2 Film and Media Study Guide

Bibliography

No book has been dedicated to Hans-Christian Schmid yet, but there are many references and interviews found on various websites, including among the better ones: www.filmportal.de/df/09/ and www.imdb.com/name/nm0772691/

A good comprehensive reference book for German Cinema is the BFI Companion to German Cinema (Ed. Thomas Elsaesser. BFI Publishing, 1999).

The UK distributor of Requiem is Soda Pictures, and on their website, in the press notes, you can find an interview with Schmid and his screenwriter Bernd Lange, as well as an interview with Sandra Huller, the lead in Requiem: www.sodapictures.com.

An article in Sight&Sound magazine of December 2006 (pp28-31) deals with the renaissance in contemporary German cinema and has an interview with HCS and a review of Requiem. Selected Filmography

1993/1994 Himmel und Hölle (Heaven and Hell) Screenplay, Director

1995 Nach Fünf im Urwald (It’s a Jungle Out there) * Screenplay, Director

1998 23 * Screenplay, Director

1999/2000 Crazy * Screenplay, Director

2001/2002 Herz im Kopf (Heart over Head) Screenplay

2002/2003 Lichter (Distant Lights) * Screenplay, Director

2004-2006 Requiem Producer, Director

2004 Familienreise (Family Trip) Camera

2007 Storm (in pre-production) Co-Writer, Director

*These films are available on loan from the Goethe-Institut London

Requiem (Germany, 2006) AS/A2 Film and Media Study Guide

Written by Maggie H��öffgen, Freelance Film Lecturer

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