PRESS KIT “DER NACHTMAHR“

SYNOPSIS

Tina is 17 years old and seemingly has everything a girl her age could wish for. But one night after an intense party, she begins having severe nightmares. From this point forward she is haunted daily by a profoundly hideous creature. Her parents do not believe her story.

The only one with whom she talks about her fears is her psychiatrist. He encourages her to get in touch with the creature. At first Tina refuses to, but after she overhears her parents’ plans to put her in a mental hospital, she overcomes her fear and begins talking to creature.

To her surprise, Tina discovers that the creature actually exists as a personification of her fears, and that it perceives the same emotions and sensations as she does. Out of fear of being taken for a freak by her friends and family, she hides the creature in her room. And as time goes by she loses her disgust of him. A trusting relationship develops between Tina and creature - much like with a wild animal found abandoned in the wilderness - and by dealing with the creature Tina learns more about her true self. However, before long, her parents and eventually her friends discover the creature with their own eyes…

NEWS RELEASE

DER NACHTMAHR, somewhat reminiscent of Donnie Darko and Spring Breakers, is a fresh, young and powerful film out of Germany. Without judging his characters, AKIZ, in his second feature film, tells the gripping, and at times terrifying, story of a young girl who falls completely out of her normal reality. With extraordinary performances by the newly discovered talent Carolyn Genzkow in her first feature film role, as well as Sina Tkotsch (“Beautiful Bitch”), Wilson Gonzalez Ochsenknecht (“Die Hippies, Long Live Punk!”) and Alexander Scheer (“Carlos – The Jackal”), DER NACHTMAHR portrays in electrifying fashion, and through an aggressive and pulsating soundtrack, what it is like to feel young and isolated, seemingly without hope, only to finally come to terms with one’s self in the end.

PRESS QUOTES

„The director AKIZ has mixed black romance, comic as well as horror elements to give shape to Tina’s fears. […] AKIZ has not made a typical coming-of-age story, [...], with a great soundtrack and very good looking girls.” -- (Süddeutsche Zeitung)

"DER NACHTMAHR" is bound to be one of the most assaulting teasers you will see [...]. With a barrage of striking images set against a soundtrack designed to make your heart race, it hints at a sensory experience that will only serve to be more terrifying and bizarre when seen on the big screen.“ -- (Indiewire)

„A beautiful film which has already received much international attention, and for which festivals will surely battle.” -- (Christoph Gröner, Section “New German Cinema”/ Filmfest Munich)

"DER NACHTMAHR" is an exceptionally well-done and good looking first film, intelligently constructed, beautifully featured, shot in short mostly dark takes, underlayed with a fast beating soundtrack.“ -- (Fipresci)

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AKIZ - Screenplay & Director / Producer

Biography: AKIZ studied directing at the Filmakademie Baden-Württemberg. His thesis film was nominated for an Academy Award. Until 2004 he worked on documentary films and freelance work. Parallel to that he has been working on sculptures and paintings as well as other art projects. His short film PAINTING REALITY was shot in 2010. The film was discovered by Banksy, and was then featured in his film THE ANTIC'S ROAD SHOW and was also shown at the Saatchi Gallery London in 2013. The production company OOO-Films was founded by AKIZ in 2012 which has now produced its first feature film with DER NACHTMAHR. 2014 Kim Gordon (Sonic Youth) presents AKIZ work at MoMA in New York together with Ad Rock (Beasty Boys) as part of the "PopRally“. Since 2015 AKIZ has been working together with Philip Virus as part of the directing collective „Pentagon“. DER NACHTMAHR is AKIZ’ first part of the „Demonic Trilogy“, which as part of a film cycle deals with the triptych “Birth, Love and Death”.

Filmography ’10 EVOKATION Short film '10 PAINTING REALITY Short film '15 NOVAKANIA Short film ’15 DER NACHTMAHR Feature film `16 DIE WEISSE BRIGADE Feature film (in preparation)

DIRECTOR’S NOTE

DER NACHTMAHR is the first part of the ‘Demonic Trilogy’ “Birth, Love and Death” in which a creature, as an amorphous fetus figure, becomes visible for the first time. All parts of the triptych deal with a more or less “speechless” creature which is confronted by society and generates chaos.

DER NACHTMAHR is for me of a young warrior who pushes her way through a media-obsessed world and eventually finds her true self again.

The drama isn’t triggered by “evil” antagonists who make life difficult for the leading actress. On the contrary, it was important to me that nobody in the story reacts in a cold-hearted or ruthless way towards Tina’s problem. It is left up to the audience whether Tina’s alienation from her environment is triggered or reinforced through the almighty multimedia interconnectedness of the youngsters or if Tina’s “differentness” in our contemporary “perfect” society is the root of the problem which globally has been diagnosed as youth depression by psychologists.

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INTERVIEW WITH DIRECTOR AND SCREENPLAY WRITER AKIZ

How would you define the film’s genre?

DER NACHTMAHR can’t be classified in any well-defined genre. This also wouldn’t have interested me. It is not a classical coming of age film. And at the same time also not a horror film in which a monster runs around and kills people. It’s more about deep psychological aspects, like you can find in the work of Sigmund Freud, Johann Wolfgang von Goethe, C.G. Jung or William Blake – my biggest idol. Maybe the term "Narcotic-Mindfuck-Melodrama" says it best. The most suitable and flattering term which I heard in this context is „New Germany Fantastic Cinema“. This is the most accurate since the roots of DER NACHTMAHR lie in the expressionist films of the 20’s.

What was the original idea for the film?

With this film I never sat in front of a sheet of white paper and pondered what I should write about. To begin with, I just wanted to make a static figure made of cast stone. The underlying idea was a mixture between a very old man and an embryo. This was more than 13 years ago. When the figure was done, I had the idea to make it again out of soft material and to give it a realistic surface so I could take pictures of it in different surroundings, I was living in Los Angeles at the time and wanted to take pictures of the figure next to highways and on the verge of industrial areas. This is where the civilized and industrial world border with the rough and desert like nature. Like the part on the verge of the human field of vision, where the visible part merges with the blind part at the edge of the pupil. Later on the mechanics and the breathing were added since I wanted to shoot a scene in which the creature was driving while a girl was sleeping on the passenger seat.

Although I’m a sculptor, I’m not familiar with the technical details on how handle foam latex, precision mechanics and so on so that the work to build the creature lasted several years. In this time I wrote down a lot of notes which were the foundation of writing this particular script.

It might sound odd but it feels to me like I wasn’t the one who actually came up with the story. Although I found these notes between the tools when I was building this creature but I can hardly remember having written these notes and they also seemed strange to me. Some parts I couldn’t even read. Although it was without a doubt my very own handwriting. I then tried to place these moments and pictures into a logical structure. The actual story made first sense to me when I discovered that these particular notes were more like pages of a diary from the various characters from the movie, describing the same phenomenon out of their own view. As I discovered later on, I have subconsciously used a technique the surrealist in the 20’s called "ecriture automatique“.

Why did you choose Berlin as the setting?

It was a simple logistical decision to shoot the film there. My network, my friends and everyone who was involved with this movie lives in Berlin. Locations and technical equipment, everything is cheaper in Berlin. Apart from that Berlin is the focal point of youth culture which at the moment can’t be found anywhere else in the world. The mix between teenagers, music, art and drugs in this concentration is unique.

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The film uses music in an extreme and unusual way. In some parts it seems like an independent main role…

Yes, the music indeed plays a special part in this film. I wouldn’t call myself a techno freak. But this kind of music is important for this kind of film and setting. It is the only music known to me which can trigger such state of trance amongst the listeners both for the protagonists as well as the audience. We partially worked with isochromatic and binaural sounds which take the narcotic and hypnotic perception to the extremes. I have never seen this in a movie and I always wanted to try this out.

Your film is an observation of German teenage society. How do you think people in other countries will look at this film?

I think the problem Tina has to deal with is very common. The feeling of not being perfect, having to hide something from others or discover things which are perceived as unpleasant or repulsive and just don’t fit the perfect picture which one wants to portray in order to be perceived as attractive on our modern society. This is a phenomenon in teenagers all around the world.

Now that the film is finished, it is perceived with great interest here in Germany but what really astonishes us that it is causing considerably more euphoric reactions abroad. Why this is the case, I don’t know.

Looking at your artwork it looks like you are especially interested in demons, females and altered states of mind. Would you agree?

That’s possible. Until the age of twenty-five I suffered from epileptic fits and I myself had visions from early childhood on. The frightening thing about it was never the visions but the fact of being outcast from the people around you. Therefore I had huge problems as a child. With time I have learned to live with it and actually use these visions for my art.

According to what you say your film seems to be kind of autobiographic. Why did you choose a girl as a main character then?

First of all to create distance towards myself. Also I’m more interested in working with women than with men.

Tell us about your choice of casting on this project and what motivated you to work with Kim Gordon and Carolyn Genzkow for example?

I found Carolyn through the casting process. She was the only one who could act with a VFX-creature a believable way as if it was a real creature. That might sound trivial but it is very difficult to play with an inanimate puppet behind which there are various puppet players. It wasn’t until the first few days of shooting when I noticed certain familiarities between Carolyn and the actual Nachtmahr who came to live almost a decade before shooting started. Carolyn’s work is unique and fascinating at the same time. She is incredibly intelligent and talented. It was an honor for me to work with this great talent.

Kim Gordon was in Berlin a year before shooting began and invited me to her birthday because she was a big fan of my last film „Eight Miles high“. After we got to know each other she told me she would love to work with me on one of my films. I was so honored by that, that at once I rewrote a part for her so she could act in her mother tongue. Later on the idea came that she could sing a for DER NACHTMAHR. It was absurd. If somebody would have told me ten years ago that Kim Gordon, the lead singer of “Sonic Youth” plays a part in our film and subsequently sings the credits song. Unbelievable.

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Was the project hard to finance?

Hard to finance is not even getting close. It was more like almost impossible. At the end of the day we shot this film with a smaller budget than expected. Even if Germany and specifically Berlin is renowned as a cultural capital in which the fine arts are always breaking new grounds, the film industry is rather conservative. To be frank after many years of endless efforts, it hit me harder than I wanted to admit to myself. I heard from different sides, that people were laughing about me since I took the creature from production company to production company to find a partner for the film.

Luckily at some point I met Amir Hamz, Christian Springer and Simon Rühlemann who helped me to finance the film. The feeling of anger only strengthened our will not to give up and to believe in the story. Besides we have a large network of friends who work in the film industry who were fascinated by the creature and the story that they offered their work for free on this project. That’s how we could produce this film independently.

And even if a small budget seems like a huge limitation at first it is actually a luxurious thing as there is nobody who gets in your way about the creative outcome of this film. Also when shooting with a micro-budget you get to work with a lot of young and creative people which makes the work a lot of fun instead of working with the "old dogs“ who for me have an outdated impression of working professionally. At the end of the day the people around me are just as important as the story itself. Therefore I’m not complaining about shooting on a small budget but I’m actually grateful and proud what we did with it.

How long was the shoot?

21 days. Between 5 and 12 hours a day. The reason why we were able to make the film despite VFX in such a short time was the preparation. And also, because we had very little technical requirements and we only shot with hand cameras and without additional lightening.

The film uses a very unique camera style. Why did you shoot everything with wide- angle lenses?

Because it comes the closest to my personal perception. I actually had huge difficulties finding the right DP who would work with wide-angle lenses using only available light. For most of them it was too delicate and unfamiliar especially for experienced DP`s. Finally I found my DP Clemens Baumeister through my producer Simon Rühlemann who is just like him in his late twenties and has never before worked on a feature film. But as I said before, I’m much more attracted by the energy and curiosity of the actual people than by their experience. To work with Clemens and Simon made this shoot simply a dream. I had the feeling that through this wide angle look and the available light everything you see on the big screen seems more realistic. To me it‘s a lot more important than the argument that it actual distorts the optical vision in particular faces and such.

The film gives no explanation what the Nachtmahr stands for or what the reason of his appearance actually is. What is he symbolizing?

That is a common question. But basically I don‘t know more than the audience. I rather see myself as a messenger who doesn’t know the content of the message he’s delivering. Of course I have my own personal interpretation but I don`t want to talk about that as I want to give the audience member the chance to paint his own picture. I actually believe that the Rorschach inkblot test is the perfect piece of art because everyone can perceive it as they wish. I even took some elements which indicated a too specific interpretation out of the script. My agents for example interpreted the creature of the Nachtmahr as an incarnation of a bulimia because the Nachtmahr always eats everything out of the fridge while Tina is very

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skinny and has to puke etc. Others see in the Nachtmahr a variation of Hades who takes Tina into his kingdom of the dead. I even heard the interpretation that the Nachtmahr is a vision of an unwanted pregnancy because he looks like a fetus and in the film there are many references leading to an embryo. It’s really flattering for me to listen to all these numerous interpretations. Films which leave no room for interpretation don‘t interest me.

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CAST

Carolyn Genzkow - Tina

Carolyn Genzkow was born in Hamburg in 1992 and at seven years old was discovered on the street and hired for a commercial shoot. Several photo shoots and commercials followed. In 2006 the inexperienced autodidact was cast for a main part in Eberhard Riedlsperger’s „Am Ende des Schweigens“, which after being released led to new offers, such as „Die Pefferkörner“, „Dr.Martin“ (von 2007- – 2009) „TATORT-Macht der Angst“, „Unter anderen Umständen“, „Tatort TATORT- Unbestechlich“, „Die Gerichtsmedizinerin“ and „Der Bergdoktor“. Carolyn Genzkow’s big break came in 2010 with two ARD Wednesday films. Directed by Dror Zahavi she was very convincing in her part alongside Götz George in „Zivilcourage“, which was awarded best feature film at the presentation of the “Goldenen Kamera” and for which Carolyn received the Grimme-Preis (Audience award of the Marler group). In the film „Keine Angst“ director Aelrun Goette guided Carolyn through her most difficult role to date. In October 2010 Carolyn Genzkow received the German TV award as best emerging talent for her outstanding performance in that film. In 2011 “Keine Angst“ was awarded the Grimme-Peis. Since 2012 Carolyn Genzkow has played various episode roles in films like “Der Kriminalist”, “Vermisst” or “Soko Stuttgart”. Alongside Meret Becker and Mark Waschke she played a guest student in “ Tatort – Das Mulli”. This part will be continued in 2015. Furthermore she will also shot two further episodes of the spring series as Kiki Baumann.

Wilson Gonzalez Ochsenknecht - Adam

Wilson Gonzalez Ochsenknecht, born 18 March 1990 in Munich as a son of the actor Uwe Ochsenknecht, through his father has been in front of the camera already at the age of nine and played a small part in Doris Dörries “"Erleuchtung garantiert" (1999). He made the big breakthrough three years later alongside his brother Jimi Blue with a main part in the children’s film “Die wilden Kerle” which is about a clique of young soccer players. Through the great success of this film, as well as the three sequels in the years 2005, 2006 and 2007, Wilson Gonzalez Ochsenknecht (as well as his brother) becomes one of Germany’s most popular teenager idols, particularly among female fans. 2006 Ochsenknecht leaves for the US where he studies at the California Art Academy for a year. After his return he founds the pop-rock-band "Heads on the Rocks", which publishes its first called “Cookies” in May 2008. This reaches place 85 in the German album charts while the single “NYC” makes it to place 29 of the single charts. In the same year Ochsenknecht plays a supporting role in the teen movie “Freche Mädchen” (2008) for which he receives the Undine-Award as best young supporting actor and a DIVA-Award as "New Talent Of The Year 2008". In 2009 he was again in front of the camera with his brother Jimi Blue in the teen drama "Gangs". 2012 as well as 2015 he took on parts in Oskar Roehler’s films “Quellen des Lebens” and “Tod den Hippies!! Es lebe der Punk”.

Alexander Scheer – Psychologist

Alexander Scheer, born 1st of June 1976 in Berlin (East), after school he makes a living with occasional jobs as postman, cemetery gardener, and barkeeper. He first gained experience as an actor in advertising. He made his theatre debut in the late nineties at the Berlin Off- Theatre TiK. He is an autodidact who never went to drama school and had his breakthrough with his first feature film role in Leander Haussmanns "Sonnenallee”. Following this film, Haussmann took him to the Bochumer Schauspielhaus. Since 2002 Scheer has belonged to the ensemble of the Berliner Volksbühne. Among Scheers well-known movies are the satire "Viktor Vogel – Commercial Man" with Götz George and Sven Taddickens "Mein Bruder, der Vampir". Scheer who in his selection of projects has remained true to the headstrong Arthouse-Cinema plays a delicate role in the Uschi Obermaier biopic "Das wilde Leben":

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Therein he embodies the rock legend Keith Richards. In 2010 Scheer can be seen in the movies Sven Taddickens "Zwölf Meter ohne Kopf" and in the terrorist drama "Carlos - Der Schakal" which successfully premiered at the film festival in Cannes and was released in German cinemas in late 2010. In 2013 Scheer was part of the ensemble of Klaus Lemkes low-budget-film "Kein Großsses Ding", which premiered at the Viennale. A leading role Scheer played in the same year as a lonely DDR-emigrant in Christian Schwochows award-winning drama "Westen", which started in German cinemas in March 2014. Lastly Scheer was seen playing Blixa Bargeld for Oskar Roehlers "Tod den Hippies!! Es lebe der Punk".

Kim Gordon - Teacher

Kim Gordon, born 28th of April 1953 in Rochester/New York, is thte daughter of a professor of sociology and a tailor. She grew up in Los Angeles where she attended the University High School and then studied Art and Design at Otis College. In the early 80’s she worked as art critic for the American art magazine Artforum and also for several galleries in New York. From 1981 onwards she was the bassist, guitarist and singer of the No-Wave-/Noise-Rock- Band Sonic Youth. Furthermore she is co-founder of the rock bands CKM, Free Kitten and Harry Crews and acts as music producer. 1981 she curated an exhibition at the White Columns Gallery. She also curated an exhibition at the MU Art Foundation in Utrecht under the title Kim’s Bedroom, in which works of Jessica Wood, Jutta Koether, Rita Ackermann, Spike Jonze, Sophia Coppola, Richard Kern and Raymond Pettibon as well as her own works are represented. Her own works are shown in numerous exhibitions in the US, Europe and Japan, and among others at the Biennale in Goteborg in 2003. Together with Spike Jonze she shot the music video for “Cannonball” from The Breeders. In 2012 YOKOKIMTHURSTON was released which is a joint album by Kim Gordon, Thurston Moore and . Besides her work as a musician, she plays small parts and cameo appearance, including among others in “I`m Not There”, “The Perks of Being a Wallflower”, “Gilmore Girls”, and “Boarding Gate”. In 2015 her successful autobiography “Girl in a Band” was published.

Sina Tkotsch - Barbara

Sina Tkotsch, born 27th of June 1990 in Berlin. was exposed to acting by chance in primary school. At the age of nine, she was offered a main part in "Florian - Liebe aus ganzem Herzen" (1999), a TV movie about a family which expects a child with Down-Syndrome. In the years following she had numerous supporting roles in TV films like „Die Salsaprinzessin" (2001) and guest appearances in crime series like "Tatort"; in the successful children series "Wie erziehe ich meine Eltern" (2002-2004) she played the daughter of the family Freytag. She had her feature film debut in Martin Theo Krieger’s social drama "Beautiful Bitch" in 2006, playing a teenager from a wealthy family who becomes friends with a Bulgarian street girl. This was followed by a number of prominent parts for cinema and TV films: In Felix Fuchssteiner's directing debut "Draußen am See" (2009) Tkotsch played the oldest daughter of a seemingly harmonious family; in the same year she played in Rainer Matsutani's youth drama "Gangs" the ex-girlfriend of a criminal gang leader. In the drama "Sie hat es verdient" (2010, TV) she plays a sensitive student who is persuaded by a dominant friend to do a fatal prank. In the adaptation of the bestseller "Dschungelkind" (2011) directed by Roland Suso Richter, she plays a girl who with her parents grows up the jungle of West-Papua. Tkotsch played leading roles in TV entertainment such as the romance "Im Schatten des Pferdemondes" (2010), the disaster film "380.000 Volt - Der große Stromausfall" (2010) and the mystery drama "Blutsschwestern - Jung, magisch, tödlich" (2013). In the comedy "Ohne Gnade" which started in German cinemas in spring 2013 she played a feature film role. Therein she was part of a trio of attractive women who use their feminine charms to take revenge on mankind.

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CREW

Amir Hamz - Producer

Born 1979 in Frankfurt. 2001 Bachelor of Arts in Hamburg. 2004 Master of Fine Arts in Documentary Directing in England. 2008 Master in Journalism and Political Science in Hamburg. From 2004 onwards directing and production of documentary films and music videos. Amongst these „Sounds of Silence" (2006), „Iran Spezial" (2007, ARTE) as well as other documentaries for NDR and ZDF. Parallel to that Hamz worked as Development Producer for MME Moviement. 2011 until 2014 Producer for Millbrook Pictures in Berlin and Initiator of the "SCHOLARtreat" writers programme as well as the „Millbrook Autorenpreis" in cooperation with the Hofer Filmtage. Since 2013 Producer with Bon Voyage Films for DER NACHTMAHR as well as „Paradise“. Since 2014 Freelance Producer for Port-Au-Prince in Berlin and Producer of the Martin Suter bestseller adaptation “The Dark Side Of The Moon”. He joined forces with Christian Springer to launch Bon Voyage Films.

Christian Springer - Producer

Born 1960, Traben-Trarbach/ Mosel. Graduate engineer of the HDM Stuttgart. Since 1990 production manager and line producer for numerous TV and cinema films, amongst others „Der Seeroesenteich“, „Neger, Neger, Schornsteinfeger“, „Bella Block“, “Mein Leben - Marcel Reich-Ranicki“ , Ruzowitzkys „ Die Fälscher" („Academy Award“ 2008 best foreign language filme), Rothemund „Groupies bleiben nicht zum Frühstück“ oder Groblers „Der ganz grosse Traum“. This was followed by award-winning films as line producer with Fatih Akin’s production company Corazon International, amongst others „Auf der anderen Seite“, „Chiko“, „Soul Kitchen“ and „BLUTZBRÜDAZ“. For Fatih Akin’s film „The Cut“, Springer acted as Executive Producer. 2012 until 2014 Producer for Millbrook Pictures in Berlin (among others Co-Producer for Martin Suter bestseller adaptation „The Dark Side Of The Moon”). 2013 Producer with Bon Voyage Films for DER NACHTMAHR. He joined forces with Amir Hamz to launch Bon Voyage Films.

Simon Rühlemann - Producer

Born 1986 in Erfurt. He studied film production at the Filmakademie Baden-Württemberg. Since 2005 he has been free-lancing for various movie and TV productions („Das Weisse Band“, „The Bourne Ultimatum“, „3 Zimmer, Küche, Bad” u.v.a.) and since 2011 also works as freelance producer for several commercial projects. Since 2013 managing director of OOO-Films.

Clemens Baumeister – Director of Photography

Born 1983 in Münster. After 2 semesters of architecture at the university in Braunschweig, he studied art for four semesters at the University of Applied Science in Hannover. During this time, Baumeister began working as camera assistant for various productions such as Ziegler Film, Sony Picture Film and WDR. This was followed by studies in photography at the Filmakademie in Baden-Württemberg, during which he worked as director of photography for commercials and completed his studies in 2011.

Steffen Kahles & Christoph Blaser – Filmmusic Composers

Steffen Kahles and Christoph Blaser for the past ten years make up a musical creative duo. Blaser whose background is in electronic music came together with the multi-instrumentalist Kahles through the pop project Elektrostar. Three years later the collaboration of the two composers was strengthened through numerous film and commercial music projects.

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In 2006 the director Sven Taddicken from Hamburg worked together with Kahles and Blaser for his film „Emmas Glück“. During his studies at the Filmakademie Ludwigsburg, Taddicken came across the film music of „Ring of Fire“ and hence got the team on board for his new film. In 2008 the team worked together with the German-Turkish director Buket Alakus for the „Finnischen Tango”. The energetic and cheerful film music was awarded the „Golden Brig Award 2009“. Taddickens „12 Meter ohne Kopf“ takes Kahles and Blaser in 2009 with Störtebeker sailing across the Baltic sea. The success of Kahles and Blaser comes from their passion and eagerness to experiment. Steffen Kahles trusts the value of experimentation: „You don’t have to be able to play every instrument in order to be able to use it“, while Christoph Blaser is convinced of the thought of musical individuality: „Replaceability needs to be avoided”.

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CREDITS

Directed and screenplay by AKIZ Production Company OOO-Films Produktion In Co-Production with Bon Voyage Films Produced by Amir Hamz, Christian Springer, AKIZ, Simon Rühlemann Director of Photography Clemens Baumeister Editor AKIZ, Philipp Virus, Anna-Kristin Nekarda VFX LIGA 01 Computerfilm Production Design Anne Schlaich & Vera Koch Costume Design Laura Büchel Make-Up Lena Lazzarotto Re-Recording Mixer Florian Holzner Composer Steffen Kahles und Christoph Blaser Sound Design Leo Brunnsteiner & Manfred Mvié Bauche Sound Mixer Thomas Diesel & Benjamin Gruber Casting Karen Wendland & Silke Koch Video Post Production Facility Optical Art Digital & Film Audio Post Production Facility DIE BASISberlin

Country Germany Year 2015 Runtime 88 min.

Press contact: Katharina Maas +49 178 86 42 721 [email protected]

Press files for download: Please contact Katharina Maas for further material

Website: www.dernachtmahr.com

World sales: K5 Media Group Konradinstr. 5 81543 Munich phone +49 (0) 89 37 50 559 10 fax +49 (0) 89 37505590-5 [email protected] www.k5mediagroup.com

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