Quarterly 1 · 2010

German Films Quarterly 1 · 2010

PORTRAITS Detlev Buck, Ulla Wagner, Frisbeefilms, Nora Tschirner SPECIAL REPORT JEUX SANS FRONTIERES International Co-Productions with and in Germany German Films Quarterly 1 · 2010

special report 4 JEUX SANS FRONTIERES International Co-Productions with and in Germany

directors portraits 14 RIGHT ON TARGET A portrait of Detlev Buck 16 PASSION AND NUANCE A portrait of Ulla Wagner

producers’ portrait 18 COMING FULL CIRCLE A portrait of Frisbeefilms

actress portrait 20 THE QUEEN OF COMEDY A portrait of Nora Tschirner

22 news

in production 28 DER ALBANER Johannes Naber 29 ALMANYA Yasemin Samdereli 30 DU GEHOERST ZU UNS Hella Wenders 30 DAS ENDE IST MEIN ANFANG Jo Baier 31 GESTERN IST NIRGENDWO Elke Hauck 32 HAUSGAESTE Eva Stotz 33 HEIMWEH Andreas Kannengiesser 33 HERBSTGOLD – WETTLAUF GEGEN DIE ZEIT Jan Tenhaven 34 IN DER WELT HABT IHR ANGST Hans W. Geissendoerfer 35 DAS LEBEN IST ZU LANG Dani Levy 36 DER LETZTE ANGESTELLTE Alexander Adolph 37 DER MANN DER UEBER AUTOS SPRANG Nick Baker-Monteys 38 MOBY DICK Mike Barker 39 DAS SYSTEM Marc Bauder 40 WE ARE THE ROADCREW Olaf Held

new german films 42 12 METER OHNE KOPF 12 PACES WITHOUT A HEAD Sven Taddicken 43 ALLES UMSONST! ALL FOR NOTHING! Jan Peters 44 BETTY B. & THE THE’S Felix Stienz 45 BIS AUFS BLUT – BRUEDER AUF BEWAEHRUNG Oliver Kienle 46 DRAUSSEN AM SEE LOSING BALANCE Felix Fuchssteiner 47 ENGEL MIT SCHMUTZIGEN FLUEGELN ANGELS WITH DIRTY WINGS Roland Reber 48 DIE ENTBEHRLICHEN THE DISPENSABLES Andreas Arnstedt 49 EVET, ICH WILL! EVET, I DO! Sinan Akkus 50 DIE FRAU MIT DEN 5 ELEFANTEN THE WOMAN WITH THE 5 ELEPHANTS Vadim Jendreyko 51 FRIEDENSSCHLAG – DAS JAHR DER ENTSCHEIDUNG PEACE PUNCH – THE YEAR OF DECISION Gerardo Milsztein 52 DIE FRISEUSE THE HAIRDRESSER Doris Doerrie 53 GESICHT ZUR WAND FACE THE WALL Stefan Weinert 54 HENRI 4 HENRY OF NAVARRE Jo Baier 55 HIER KOMMT LOLA! Franziska Buch 56 HUNGER Carolina Hellsgård 57 THE HUNTER Rafi Pitts 58 JERRY COTTON Cyrill Boss, Philipp Stennert 59 KEEP SURFING Bjoern Richie Lob 60 LEBENDKONTROLLE OUTSIDE Florian Schewe 61 MAENNERHERZEN MEN IN THE CITY Simon Verhoeven 62 MEIN KAMPF Urs Odermatt 63 DIE NEUEN NONNEN VON MOSKAU MOSCOW’S NEW NUNS Beate F. Neumann 64 ON THE OTHER SIDE OF LIFE Stefanie Brockhaus, Andy Wolff 65 PORGY & ME – IN DER WELT VON GERSHWINS PORGY AND BESS PORGY & ME – IN THE WORLD OF THE GERSHWINS’ PORGY AND BESS Susanna Boehm 66 DIE REISE NACH METROPOLIS THE JOURNEY TO METROPOLIS Artem Demenok 67 RÉSISTE! AUFSTAND DER PRAKTIKANTEN RESIST! INTERN REBELLION Jonas Grosch 68 DER SCHEIN TRUEGT – EINE EXPEDITION IN DIE RAETSEL DES GELDES IN WHAT WE TRUST – AN EXPEDITION INTO THE RIDDLES OF MONEY Claus Strigel 69 DIE SCHOENSTE NEBENSACHE DER WELT THAT FUNNY OLD GAME Tanja Bubbel 70 TANNOED THE MURDER FARM Bettina Oberli 71 TANZTRAEUME – JUGENDLICHE TANZEN “KONTAKTHOF” VON PINA BAUSCH DANCING DREAMS – TEENAGERS PERFORM “KONTAKTHOF” BY PINA BAUSCH Anne Linsel, Rainer Hoffmann 72 TERMINAL Joerg Wagner 73 VINCENT WILL MEER Ralf Huettner 74 WAGs_WIVES AND GIRLFRIENDS Joachim Dollhopf, Evi Goldbrunner 75 ZUGABE. TALENTPROBE – EIN WIEDERSEHEN ENCORE. TALENT CONTEST – A REUNION Manfred Behrens 76 ZWEIOHRKUEKEN RABBIT WITHOUT EARS 2 Til Schweiger

79 film exporters

83 foreign representatives · imprint SPECIAL REPORT Scene from “The Reader” (photo Scene from © Senator Film) JEUX SANS FRONTIERES International Co-Productions with and in Germany

The schoolyard is a microcosm that follows the same rules wherever co-production” is thus growing, even in traditionally strong pro- you are: it is a place where young people meet. It is here rather than duction countries like France. The number of international co-pro- in the classroom that exchanges take place, that new contacts are ductions supported in Germany has risen since the introduction of the made and existing ones consolidated, that kids with similar interests German Federal Film Fund (DFFF): there were 37 in 2008 by com- find each other. Then they meet up to play, later at the pub, to go to parison to 34 in 2007. By the end of November 2009, 35 applications the cinema or to travel. They talk about the future. The contacts had already been submitted to the DFFF, although certainly not all of initiated in the schoolyard develop into firm, often life-long relation- these were for international co-productions, but nevertheless quite a ships. few were. Film productions with international participation often have a higher production budget. The average production costs of the Thanks to European programs like EAVE and ACE, the European film international co-productions supported by the DFFF in 2007 and 2008 industry also functions like a schoolyard, at least according to film were 9.65 million Euros – by comparison to an average of 5.3 million producer Peter Rommel. For it is not dealing with the “paperwork” Euros among all the projects supported by the DFFF in the same that represents the challenge for producers involved in international period. co-productions, he says, but the personal aspects. Of course it is often about money. First and foremost, even. “And when it comes to The German film industry has become more international over the money, as we all know, that is often where a friendship ends,” says past five years. “And the producers are daring to tackle bigger Kirsten Niehuus, managing director of Medienboard Berlin-Branden- budgets,” says Christine Berg, project director of the DFFF. German burg. But trust becomes even more important for that very reason. cinema has a good international reputation, having won various prizes How do I find the right partners? Can I rely on them? Do we have the and acclaim. Fatih Akin, Michael Haneke, Tom Tykwer and Andreas same perspective on the project, not just in terms of the financing, but Dresen are popular with the critics, and successful at the big festivals also regarding content? Are we all pulling in the same direction, or is and box offices as well. there a risk of delays and disputes? Questions like these are essential in international co-productions, which are becoming an increasingly At the European Film Award 2009, two international co-productions important form of production and funding across the whole of with German participation received big awards: the prizes for the Best Europe. Film, Best Director and Best Screenplay went to The White Ribbon by Austrian director Michael Haneke. Kate Winslet received It is becoming more and more difficult, however, to finance projects, the prize for the Best Leading Actress for her role in The Reader especially ambitious ones, in one country alone and the “pressure of by British director Stephen Daldry. These two films represent the

german films quarterly special report

1 · 2010 4 opposite ends of the spectrum of international co-productions: in the Euros simply through the entry of a co-producer. Co-productions first case, a majority German production that was financed from four mean longer periods of production and development, higher costs, different countries and in the second case, a US-UK production based many obligations due to the combination of different funding sources, on the novel by German novelist Bernhard Schlink, with international and a large number of legal, technical and artistic implications. Late- actors and co-produced by Studio Babelsberg. arriving co-producers may delay and complicate a project as well.

The range between these two extremes shows that there can be “The bitter truth is that avoiding co-production is always the easier various motivations to embark on a co-production – they may con- and quicker way,” says Kristina Trapp, managing director of EAVE, cern content or they may be artistic in nature because the in- one of the leading training, development and networking programs volvement of another country is required for the material, theme, for producers in Europe. Whether a co-production is advantageous location of the action, actors or music. And financial reasons may be or desirable despite this always depends on the individual project and the determining factor if it is impossible to finance the project nation- must be decided individually, from one case to the next. Does the ally, for example. Technical conditions may also be decisive, because idea of a co-production suggest itself because of the project’s con- specific services are cheaper in other countries or can be realized with tent? Does a strong partnership exist with experienced co-producers? greater technical skill. Does the project actually have the potential to find an audience Scene from “The White Ribbon” Scene from (photo © X Filme Creative Pool/Les Films du Losange/Wega Film/Lucky Red) Films du Losange/Wega (photo © X Filme Creative Pool/Les

CHANCES AND RISKS beyond the boundaries of the national market? One should ask oneself these questions. “Every project must be seen as a precedent, it The advantages of international co-productions include, among other has its own logic and spirit, and they should be respected,” says aspects, the fact that they present more funding possibilities. Co-pro- Kristina Trapp. duced films also have better opportunities for distribution in the co- production countries and have a bigger market potential. The partici- STARTING WITH THE SCREENPLAY pation of a producer from France means that the film will be recognized as a French production there; it will thus receive support and The international breakthrough as a renowned European co-produ- find a French distributor more easily and will also be marketed there. cer came for Stefan Arndt with the film The White Ribbon by Michael Haneke. After all, he succeeded in arranging a good bit the Another advantage that should not be underestimated is that one funding abroad for a film with a purely German subject and a German already gets feedback from colleagues at a very early stage of the pro- cast, set exclusively in Germany. ject: the co-producer is one’s first viewer. In this way it is possible to clarify the screenplay, find mistakes and generally improve the pro- The starting point for Arndt’s decision was Haneke’s screenplay: the ject’s chances. film is set in a village in Mecklenburg shortly before the outbreak of the First World War. Strange things happen, disaster gradually hits the But, “if you can get a project realized in your own country, then do so,” village: the doctor of the village is badly injured in an inexplicable says Sonja Heinen, director of the Berlinale Co-Production Market; for riding accident. A poor peasant woman is killed in an accident while the chances presented by co-productions are simultaneously also working at the sawmill, the son of the estate-owner is mistreated, a their risks. The structure of a co-production makes such projects barn burns down. The role of the village children in all this remains more expensive. A budget of 1.7 million Euros increases to 2 million mysterious; they are brought up with strict sadism and cruelly subjec-

german films quarterly special report

1 · 2010 5 Scene from “Storm” Scene from (photo © 23/5, Zentropa, IDTV/Gerald von Foris) (photo IDTV/Gerald von Foris) © 23/5, Zentropa,

ted to their parents’ dominant morality. It is a film about the deve- been possible without the DFFF.” The DFFF supported the film with lopment of the authoritarian character. 1.6 million Euros, the Medienboard Berlin-Brandenburg contributed 600,000 Euros, Mitteldeutsche Medienfoerderung (MDM) 500,000 Up until now, Michael Haneke has produced all his films together with Euros, and Eurimages a sum of 700,000 Euros. Veit Heiduschka from Wega Film in Vienna. The latest three were also made with Margaret Menegoz from Les Films du Losange. Arndt The fact that this type of financing worked out should be regarded as knew both producers but had not worked with Michael Haneke be- an important example to other German producers. But there are still fore; Haneke was thus directing a majority German production for considerable reservations, because no one seems quite capable of the first time. They suggested the screenplay of The White believing that German films may also be of international interest. Ribbon to him, and Arndt was immediately enthusiastic about the Stefan Arndt does not see a trend towards European co-productions material. But the 190-page screenplay would have meant a film of yet: “In some cases, there is no sense in it.” Merely organizing a co- three and a half hours, and so Arndt suggested shortening it. production is a full-time job, usually involving a lot of work and trouble, and one needs the corresponding experience. Cooperation The budget of 12.5 million Euros comprised shares of 22.5 per cent between an obviously larger and a smaller production company rarely by both Wega Film and Les Films du Losange, and a further 10 per works out, either – the participating producers most certainly need to cent by Andrea Occhipinti’s Rome-based Lucky Red, while 45 per be on the same level. Otherwise, the 12.5 million Euros production cent was covered by Berlin-based X Filme. “It is marvelous when a budget would make them too nervous. And – as said before – the production manages to fetch in money from abroad to make a screenplay needs to be convincing. German film,” Arndt comments. “But the project would not have Scene from “Irina Palm” (photo © photo © X Verleih) (photo © photo X Verleih) “Irina Palm” Scene from

german films quarterly special report

1 · 2010 6 UNIVERSAL THEMES & RELEVANCE Semih Kaplanoglu, who is thus presenting the third and final part of his trilogy – after Egg and Milk. One might even be tempted to label It is essential to the success of a project of this kind that the subject them Turkish “Heimat” films, since Kaplanoglu describes conflicts that awakens international interest. As is customary in German cinema, explode the traditional understanding of roles in Turkey and so the material may be anchored in a specific region. But it must have creates snapshots of a country moving closer to Europe. Heimatfilm universal validity, like Requiem by Hans-Christian Schmidt, or it was also the German co-producer for Milk, which screened in com- should examine a theme with international relevance, as in the case of petition in Venice in 2008 and received several awards at the Istanbul Storm by the same director. Film Festival in 2009, including the FIPRESCI-Prize and the Best Screenplay award. Universal themes and the regional or local provenance of a film are not a contradiction, by any means. There are many examples of this GETTING CONNECTED in European film, as shown by e.g. 4 Months, 3 Weeks and 2 Days, Police Adjective, Lost Persons Area and Irina International co-productions with a bigger budget are well-known Palm. The international success of films with strong local charac- territory for Jens Meurer, co-director at Egoli Tossell Film. Meurer teristics like Amélie indicates that regional material can also make its sees himself as a European producer based in Germany. A united mark internationally. This is illustrated in a vivid way by the fact that Europe became reality for him long ago. “On the economic level, no even a comedy based on regional dialect like Welcome to the one doubts it. The parts used to make a German car come from ten Sticks achieved an international breakthrough. “Fortunately, we different countries – that is a matter of fact. In the case of a film, it is Photos: Stephan Rabold, Artwork: Design House, L.A.) in “The Last Station” (photo © Egoli Tossell Film Halle/The Little Company/ in “The Last Station” (photo © Egoli Tossell James McAvoy, Kerry Condon, Helen Mirren, Christopher Plummer, Paul Giamatti Paul Condon, Helen Mirren, Christopher Plummer, Kerry James McAvoy, have now left tedious discussion of the much-cited ‘euro pudding’ still a problem. There are innumerable cultural reservations, not only behind us and have begun to understand that audiences demand in Germany. And yet in Germany in particular, we are Europeans in regionally anchored material, films with a ‘home address’,” says the historical sense. It was always a part of our nation’s history to Kristina Trapp. Every film needs its own identity and signature – that work across boundaries.” certainly does not contradict themes with far-reaching relevance that touch people all over the world. His film The Last Station is one example of the importance of international experience and good contacts. This Russian story has The Cologne-based production company Heimatfilm incorporates been told by a British-American director, and that was something that the home country even in its name. Founded in 2003 by producer emerged almost as a matter of course. The rights to the material con- Bettina Brokemper and the Munich advertising film production com- cerning the final months in the life of writer Leo Tolstoy lay with pany Embassy of Dreams, Heimatfilm now develops and produces its Bonnie Arnold, who developed the screenplay together with director own film and television projects for German, European and inter- Michael Hoffman. Hoffman and Meurer got to know each other at a national audiences. In addition, Heimatfilm is a committed participant workshop organized by the MDM. It soon became clear that Meurer in international co-production projects, primarily European films for was the most suitable partner for the film’s production. the cinema. Meurer had optimal contacts in Russia, where he has already been However, Bettina Brokemper’s productions have nothing at all in working for twenty years. In the 1980s, when still a director, he common with the German genre of “Heimatfilm”: work was com- realized a film project that expanded into many years’ interest and pleted at the end of 2009 on the Turkish film Honey, a co-pro- activity in Russia. It was a co-production between GDR television, duction with the Turkish company Kaplan Film Production screening the Leningrad documentary film studio, and Bavarian Broadcasting in Competition at this year’s Berlinale. It was written and directed by concerning the changes in the Soviet Union that were becoming

german films quarterly special report

evident at that time. Entitled Das letzte Jahr der Sowjet- ed by advance sales, among others to the Russian producer Andrej union, the production was broadcast as a four-part series by ARD Konchalovsky. The State of Saxony-Anhalt provided state surety in 1992. together with a major Berlin bank. The film was supported by the Tolstoy family. The score was created at the documentary film studio In the course of this work, Meurer made many Russian friends and he in Leningrad, as had been the case for an earlier Egoli Tossell pro- has great faith in his partners: he describes his personal contacts in duction, Russian Ark. Russia as very stable and far more reliable than the average. He has already made more than ten films with Russian partners. But Meurer cannot be reduced to the role of an “eastern” specialist, by any means: he works together regularly with producers from other The Last Station is an official German-Russian co-production countries and has now made more than 60 co-productions. Two with a budget of 14 million Euros, produced entirely in Germany. more of his co-productions will be launched in German cinemas in Meurer founded the company Egoli Tossell Halle especially for this 2010: Carlos The Jackal, the film version of a three-part tele- film and cooperated closely with the state film support boards in vision series about the terrorist Carlos, and Bon Appétit, a roman- Saxony, Saxony-Anhalt and Brandenburg. “We would have liked to tic drama about the lives of young Europeans who feel at home in shoot in Russia as well, but it turned out to be simpler to do so in several different countries. Meurer’s partner Judy Tossell was also in- Germany,” he says. The federal film support institutions in Germany volved in Sandra Nettelbeck’s latest film, Helen, a German-Canadian contributed around two million Euros. A further 800,000 Euros came co-production about a woman who seems to have it all, but is fighting from MDM and 650,000 Euros from the Medienboard Berlin- to save her life and her family from her own clinical depression. Brandenburg. In addition, a share of production costs could be cover- Scene from “Inglourious(photo Scene from Basterds” © François Duhamel)

german films quarterly special report

1 · 2010 8 CO-PRODUCTION OR CO-FINANCING? CREATIVE WORK

Opinions are divided on the difference between co-production and “I try to finance a film in a way that serves its artistic concept. That’s co-financing: if you operate within a longstanding network in Europe, my priority,” says Roman Paul, co-managing director of Razor Film. It according to Meurer, then sometimes you will be a co-producer and is not always easy to keep a balance between production-determined sometimes a co-financer. But as a consequence of many wide-ranging compromises and demands on the one hand and artistic freedom on contacts, your competence means that you will be in a position to the other, without compromising the heart and soul of a project. exercise an influence on content as well – as he does by suggesting the Cooperation across the borders, also involving multicultural teams, is actors most suitable for individual roles, for example. both enhancing and a great challenge to production technology – and it is the producer’s job to organize all this. The DFFF only received a few applications to support the co-financing of projects in 2009, says Christine Berg. And even Speed Racer One example is his film Womb, a somber story set in an unspecified and Inglourious Basterds should be regarded as co-productions place by the sea in a future that also remains cloudy. A woman who because both partners contributed their know-how. In the case of the cannot come to terms with the death of her lover decides to have Scene from “Womb” (photo © Razor Film/Wolfgang Borrs) (photo © Razor Film/Wolfgang “Womb” Scene from

Tarantino film, the German contribution lay with actors and the sce- him cloned and then gives birth to his genetic image. But the man who nography, in Speed Racer with the technical effects. grows up this way develops his own personality; he is quite unable to meet his mother’s expectations. Womb is not a science-fiction film Peter Rommel sees pure co-financing in a far more critical way. If it is so much as a story about morality, love and questionable, egoistic a film with material that has nothing to do with Germany, and the desires. country is only participating via “provisions”, it tends to be a rather tricky matter. Purely financial participation with no co-responsibility Roman Paul had seen Dealer, the second full-length feature film by for content is excluded from support in the statutes of the DFFF. Hungarian writer and director Benedek Fliegauf, in the International However – and far-reaching agreement is again prevalent here – Forum of the Berlinale in 2004 and was very impressed by it. After international co-productions and co-financing lead to a further pro- a first encounter with Fliegauf in Karlovy Vary, the two men met fessionalizing of the film industry. Film technicians receive contracts regularly in Berlin during Fliegauf ’s year-long residence in the city in from the USA or Great Britain because they were involved in the the context of the Nipkow Program in 2005. Fliegauf told Paul about making of such films as Inglourious Basterds or Speed Racer. a project for a novel, whereupon Paul suggested: “Write a screenplay The feedback effect for Germany: know-how acquired abroad is instead and we will make it into a film.” applied at home later on. After they had begun to work on the project, Paul applied for “As always, it is essential to follow a project’s individual logic,” Kristina development support from the ScripTeast Program. Finally, the Trapp comments, expressing her own rather different position. “Not screenplay was awarded the Kieslowski Prize at the Cannes Film every film profits from all the co-producers having an artistic say in Festival in 2008 and invited to the studio of the Cinéfondation. (The the matter. The important thing is to respect the needs of the project full-length animated documentary film Waltz with Bashir by Ari at hand.” Even in the case of pure co-financing, it is not out of the Folman from Israel, co-produced by Razor Film, was also shown at question, by any means, for the co-financers/-producers to have a Cannes in the same year in competition.) great interest in the project and to fight for its implementation – but they keep out of content issues. There may be various reasons behind Womb, a German-Hungarian-French co-production, in cooperation this, including respect for the director’s or author’s artistic freedom with Inforg Studio, ASAP Films, ARTE France and ZDF, and the integrity of the work. was made in Northern Germany from March to May: on Sylt and the

german films quarterly special report

1 · 2010 9 Scene from “Waltz with Bashir” (photoFilm Gang) © Bridgit Folman “Waltz Scene from

small island of Langeness, and in St. Peter Ording, Hamburg and “natural” form and work together regularly with some partners. Berlin. Originally, the production was planned in conjunction with Above all, the project itself has to be right; personal liking and British partners and has an English-speaking cast. “Fliegauf did not trust are also important. Paul advises great care in the selection of want to be limited to Hungary when choosing his actors. And there partners: “Otherwise, you may experience some unpleasant sur- was a bigger pool of English-speaking actors to select from,” says prises.” Paul. THE INTERNATIONAL PERSPECTIVE Hungarian producer Andras Muhi also produced Fliegauf ’s earlier films. French producer Cedomir Kolar had already known Paul for a There is now a generation of film producers for whom the concept very long time, and the two of them are already working on their next of globalization is quite natural; they can no longer be attributed to co-production – Circus Columbia by Danis Tanovic, the shooting one particular country themselves, being Europeans in the best sense of which was completed in November 2009. of the word. One example is Berlin-born Greek producer Thanassis Karathanos and his production company Twenty Twenty Vision. He Roman Paul’s and Gerhard Meixner’s Razor Film now concentrates sees international co-productions as a possibility to combine different entirely on international co-productions. They also co-produced cultures and worlds, thus bringing people closer to regions and socie- Hany Abu-Assad’s acclaimed film Paradise Now, which won ties that would be inaccessible to them otherwise. Co-productions numerous international awards, including the Golden Globe in 2006 enable filmmakers and producers to realize their visions through colla- for Best Foreign Language Film. Paul and Meixner view this as a boration. Scene from “Tulpan” (photo © Pandora Film Produktion) Film Produktion) (photo © Pandora “Tulpan” Scene from

german films quarterly special report

1 · 2010 10 His co-produced film Ajami is currently being shown with consider- act of revenge, Ali – a night watchman in today’s Teheran – goes too able success at European film festivals. The German majority pro- far and kills two policemen. He escapes into the forest, where the duced film celebrated its premiere at the Cannes Film Festival in 2009, authorities attempt to hunt him down and arrest him. In this isolation, where it received a Special Distinction in the context of the Camera the borders between hunter and hunted become blurred. “I knew D’Or award. In July, Ajami went on to win the main award as best Rafi Pitts as a director because of his film It’s Winter, which was full-length film at the Jerusalem Film Festival. It received five prizes at also shown in the competition of the Berlinale. Then I met him per- the presentation of the Ophir Award, the highest Israeli film accolade, sonally in Locarno in 2007 and he told me about his new project The in September. The film is also Israel’s submission to the 82nd Hunter. His enthusiasm for the project immediately infected me Academy Awards®. and I was delighted when soon afterwards we agreed to make the film together.” Co-producer Thanassis Karathanos became aware of the project when it was presented at the Berlinale’s Co-Production Market. With this film, Karathanos will be competing against his associate Karl Ajami by Yaron Shani and Scandar Copti became the first ever joint Baumgartner for the Golden Bear in Berlin. Baumgartner is represent- Israeli-Palestinian production, with co-direction from both countries. ed in the competition as co-producer of On the Path, the new film The film links five stories of Jews and Arabs, Christians and Muslims by Jasmilla Zbanic, who won the Golden Bear with Grbavica in Twenty Twenty Vision Filmproduktion GmbH) Vision Filmproduktion Twenty Twenty Scene from “The Hunter” (photo Scene from © Maryam Takhtkeshian/

in Ajami, a city district of Jaffa near Tel Aviv. It describes a hopeless 2006. Baumgartner has been working on international co-productions situation from various perspectives and on different levels of time, for many years now. He began in the 1980s with the foundation of whereby the differing realities of life are interconnected in a way that Pandora Film Distribution. Pandora Film quickly grew into one of the is almost inevitably tragic. Lay actors from Jaffa and Tel Aviv were cast leading European distributors of arthouse films and soon developed in all the roles. an additional emphasis in the field of production. Its first great success was the production of Emir Kusturica’s Underground. Pandora “Apart from the powerful stories, what attracted me was the also collaborated on Irina Palm and Tulpan, and was successful constellation of the two directors, a Jewish Israeli and a Christian at the Berlinale 2009 with the production Gigante. Arab, who represent the many contradictions of Jaffa in their own persons. I was sure that this project of showing life in Ajami on Munich-based Constantin Film is one of the most internationally suc- screen could be developed into a marvelous film,” Karathanos cessful production companies in Germany. Since going public in 1999, says. the Constantin Film AG – together with its subsidiary enterprises and affiliated companies – has positioned itself not only on the German Among other things, Thanassis Karathanos has produced the Greek media scene but also within the international film industry as the most film Small Crime with his company Twenty Twenty Vision; he has successful independent German production and distribution company also co-produced films such as The World Is Big and by far. Salvation Lurks Around the Corner and Tulpan. Together with Karl Baumgartner, in 2003 he founded the production company Constantin Film succeeded in making a name on an international level Pallas Film, which financed films including Irina Palm and with its own productions such as Never Ending Story or The the German-Serbian-Bulgarian-Austrian co-production Gucha. Name of the Rose. They were followed by more world-wide Karathanos’ new project is The Hunter by Rafi Pitts, which will successes such as The House of Spirits, Perfume, Downfall have its premiere in this year’s Berlinale competition: in a desperate and the Oscar® winner Nowhere in Africa.

german films quarterly special report

1 · 2010 11 GETTING SUPPORT financing. Three million Euros each year have helped to support 549 films since 1995. The German Federal Film Fund (DFFF) was introduced in 2007, and has since been offering substantial support to international co-pro- Poland is also an interesting co-production country at present: this is ductions; the German Federal Film Board (FFA) is also very well- due among other things to the policy of support by the Polish Film disposed to Europe, according to DFFF project director, Christine Institute, which is aiming to energize its own film industry in order to Berg. As a consequence of its transparency, the organization of the keep up internationally. 17 million Euros are currently being invested DFFF has become exemplary in Europe and several countries have in film support in Poland. In addition, the Medienboard Berlin- established similar structures of financial support. The DFFF offers Brandenburg and the Mitteldeutsche Medienfoerdung have set up a new possibilities – above and beyond national and regional support – co-development fund in collaboration with Poland. The prerequisite also for international film projects: co-productions, particularly from for support in this context is a development contract between a France, Great Britain, Belgium and meanwhile from the USA as well, German and a Polish producer. are being realized in Germany more and more. “These possibilities of financing have brought Germany an entirely different standing in the Austria and Switzerland are also traditionally strong co-production international film business,” says Kirsten Niehuus, managing director countries, but Canada has also joined them due to its attractive sup- of Medienboard Berlin-Brandenburg. port program. New countries that have shown an increasing interest in developing co-productions with Germany include Brazil and India. In 2007 and 2008, the DFFF supported a total of 198 productions But this is only happening on the preparation level as yet. Concrete with around 118.5 million Euros. This support triggered investments applications have not been submitted to the DFFF, according to in Germany to the sum of more than 750 million Euros – correspon- Christine Berg. ding to approximately six times the total of film support! In this way it has prompted a rise in utilization figures and lastingly consolidated However, the obligations which often go along with financial support the German film industry, according to the Federal Government from national and regional institutions, like the German “state effects” Commission for Culture and the Media (BKM). or the points system in Luxembourg, can present considerable pro- Scene from “Ajami” “Ajami” Scene from (photo © Inosan Productions/Twenty Twenty Vision Filmproduktion) Vision Filmproduktion) Twenty (photo © Inosan Productions/Twenty

“Setting up the DFFF led to more films being produced in Germany,” blems for some projects. “This is not healthy and desirable for every according to Birgit Horion-Vogel, a leading government officer at project; it may cause headaches for the co-producer and can often the BKM. Among other things, she is responsible for the bilateral film take on rather bizarre forms,” says Kristina Trapp from EAVE. agreements between Germany and a total of 17 other countries; in some cases these have held for almost 50 years now. In addition, The film support institutions in Europe are well aware of these pro- there is an agreement with France and Austria concerning sales blems and conduct an ongoing dialogue with each other and the rele- promotion. The aim of the co-production agreements is to help vant producers. Initiatives now attempting to make regulations for promote reciprocal understanding of the participating countries’ support compatible all over Europe include CINEREGIO and the different cultures and to make German filmmaking more inter- German-French Masterclass with its German-French film meeting. nationally competitive. The agreements are supervised by the Federal Office of Commerce and Export Control (BAFA). “The support guidelines in the EU are complex – that cannot be denied,” says Christine Berg. “Every country has its own guidelines The most successful exchange is with France; among other things, and they must be made compatible.” However, even now they are this is thanks to the annual German-French film meeting “Das cumulative and federalist, and they all adhere carefully to the Rendez-vous”. Above all, however, it is because of the “mini-traité”, European idea. We deal with whatever is possible, but not everything the only bilateral co-production fund with a budget available for is feasible.

german films quarterly special report

1 · 2010 12 Scene from “Grbavica” Scene from (photo © coop99/Deblokada/noirfilm/Jardan Film)

CREATING CONTACTS Television Conference FICCI-FRAMES. A similar trip was organized in 2009 as well. The intention was for German producers to gain some German Films has attended this development towards more co-pro- initial insights into the very interesting, albeit difficult Indian market. ductions and seconds the progress made: “We help to establish During FICCI-FRAMES, a panel discussion took place on the topic of contacts, advertise for German cinema abroad and act as partners to “Possibilities of Co-Production with Germany”. Many Indian directors the big international film festivals,” says Mariette Rissenbeek, mar- and producers came to the subsequent reception in order to ex- keting director of German Films. “In addition, we advise international change their ideas and views about the possibilities of cooperation producers and make information about the German film market with German producers. A similar trip is planned for 2010 in order to available. If Argentinean producers are looking for a German co-pro- intensify already existing contacts and to establish new ones. ducer, we try to find out which German producer may be a possibility and where there is interest, we help to create the contacts.” German BACK TO THE SCHOOLYARD Films also has nine foreign representatives around the world, who can, in turn, also help German producers connect with producers in All over Europe, people are working to improve and to consolidate South America, China, Eastern Europe, France, Italy, Spain and the their contacts in the imaginary film schoolyard. Programs like EAVE United Kingdom, as well as in Japan, the USA and Canada. and ACE help to equip European producers with the necessary knowledge and tools to survive and become successful on the international German Films is also working in a very concrete way on the recon- market. These training, development and networking programs bring struction of contacts to British producers, as there have been very together producers who want to work and produce films beyond few co-productions with Germany since the introduction of the tax their own national borders. By means of their participation in such credit system in Britain. In the context of the 11th Festival of German programs, they become part of a strong pan-European professional Films in London, German Films – in cooperation with the UK Film network and are able to deepen and update their knowledge of co- Council – organized a one-day event on the topic of possibilities for production. co-production. It met with great interest among British producers, as the British film support system does not offer financial support to Co-productions expand the market and improve the circulation and international co-productions. In the context of a panel discussion, distribution chances of European films in the individual European Kirsten Niehuus and German producers Thomas Kufus, Steffen countries. They trigger curiosity for cinematographic works from Reuter and Jens Meurer discussed the possibilities and difficulties of neighboring countries and extend people’s film horizon beyond the German-British co-productions together with Emma Clarke and American mainstream. They enable independent European producers Isabel Davis from the UK Film Council and British producers Chris to run their production companies successfully and thus to maintain Curling and Umberto Pasolini. German Films is planning a similar the diversity of film in Europe. event for 2010. It is important to offer effective support for networking, even in a narrower context. And – international co-productions tell different stories in different ways. It is obvious that if people from various European nations hang India is also interested in co-productions with Germany. The country around the schoolyard together, they will hear some things that they has a huge film industry, of which Bollywood constitutes only about knew nothing about before. And of course a few stories will survive one fifth. India has been booming for several years now, particularly forever; in other words, those that are universal. in the fields of film and media. Two years ago, India introduced itself as a film country during the MIP COM in Cannes. A German-Indian Harald Olkus production agreement was concluded in 2007. In 2008, German Films (Edition 8 – Agency for Cultural Management, offered a first producers’ trip to Mumbai to visit the Film and Editing and Communications)

german films quarterly special report

1 · 2010 13 Detlev Buck (photo © Alex de Brabant/COLORSTORM) allowed himself to be pinned down: while remaining highly profes- tobepinneddown:while remaining highly allowed himself style,hehasnever approachcreative inasimilarway. of Interms director’s describe thetopGerman ambience. Onecouldprobably atmosphere combiningcozy andfunctional-creative apartment production BojeBuck; the rooms company here exudearelaxed sitting with ontheKurfuerstendamminBerlin.WeIt isacoldautumnday are DIRECTOR’S PORTRAIT DIRECTOR’S otato Detlev Buck A portrait of TARGET ON RIGHT early 1990s; the company hasbeenresponsibletherealization 1990s;thecompany for of early ClausBojeinthe Produktion partner togetherwithhislong-term inBerlinfromBojeBuck Academy 1985to1989,goingonfound FilmandTelevision hisprofessionattheGerman He learned film short scenewithhis before exchanging thefilm thefreshairfor country from schoolandcompletedanapprenticeshipHolstein; hegraduated Detlev Buck 1 ·2010 filmsquarterlygerman Time toKnockOff Detlev Buck was born in 1962 and grew up on a farm inSchleswig- uponafarm in1962andgrew was born ntecneec omo hissuccessful in theconferenceroom of ( Erst dieArbeitunddann? ). myself. I’m not talking aboutacultural obligation, butaboutthingsthat I’mnottalking myself. that Iwantto. ownwishes, withmy Iwanttoplease I’mconcerned themarket; theway for Itell astory primarily make don’t films tainly appealtothedirector “Icer- itisvitalthatthey himself. although first intocrowd onintimatestoriesthatoftendevelop pullers, privacy of withatouch sional, the47-year-oldandalways workswithwit,charm r fpersonalinterest tome.” are of email: [email protected] ·www.bojebuck.deemail: [email protected] +49-30-88591315 0·fax 913 phone +49-30-885 Kurfuerstendamm 226·10719Berlin/Germany Boje BuckProduktion GmbH Contact: thisyear. cinemasatthebeginningof ed inGerman acclaimed premieres andToronto, inLocarno willbelaunch- thefilm from school.Afterhighly Cambodian womansoonaftergraduating inaHIV-positive hislife backpacker,German theloveof whofinds ButDifferentSame todistantCambodiain2008shoothiscurrentfilm travelled Mississippi shooting star. Aftertheprize-winningchildren’s film and madehisyoungKrossGerman leadingactorDavid intoanew debate. ItalsobroughtFilmAwards himtheSilverLolaatGerman ditions ataproblem schoolinBerlinandtriggered asocio-political Enough seriousaswellwith monstrated thathecanbeextremely Lehmann leaning towards self-irony as an actor in films like leaning towards self-ironyasanactorinfilms ( mannerwith East-Westinanunrivalled films young genre of actor andaproducer. thestill Asanauthorandactorheinfluenced Joy illiterates intheroad movie themes. Hereinforced thisreputationtwo withascenariofeaturing grotesque individual, highly adirectorfor withaliking critics’ favorite; Director. Itsetthetrendhissubsequentreputation for astheGerman Critics Award,FilmAward butalsotheBavarian asBestYoung Film theGerman –alreadywonhimnotonly Germany Northern toabackwatertownin against thesystemafterbeingtransferred ( film full-length sincethen.Hisfirst all hisfeaturefilms Neighbor like films these successesatregularwithnew intervals up from possibleatthetime.WhileBuckwasfollowing Buck,believed Girl Heike Makatsch’s blossomingcareer –arisethatnoone,apart upwardVIVA- comedy’s trendfor German andsmoothedtheway frompick uptwowomenwhenonleave prisonbecameasymbolof ( majorbreakthrough.evitable Thiscamein1996with koennen anders auch Sonnenallee Karniggels Maennerpension ( Liebesluder ) and ( Knallhart ), and in the following years), andinthefollowing heoftendemonstratedhis ( Liebe DeineNaechste Liebe , 1991)–inwhichayoung policemanbeginstorebel ( Haende weg von Mississippi NVA . Despiteallthecomedies,Buckde- Detlev 00,h lomd aefrhmefasan himself , 2000),healsomadeanamefor ): the prison comedy abouttwojailbirds): theprisoncomedy who ) in 2006: the film examines shocking con- examinesshocking ) in2006:thefilm hc oue ntetu tr fayoung of onthetruestory , whichfocuses , 1993),whichalreadypointedtoanin- No More Mr. NiceGuy , 1998)and director’s portrait Berlin Blues Rabbit Fever Rabbit A Bundleof , 2007),Buck Hands Off Hands Love Thy Jailbirds Sun Alley Tough Same ( ( Wir Herr 14 What might appear arrogant and haughty coming from others simply externally, you’ll always be as welcome as the success of your last conveys a likeable honesty when Detlev Buck says it; surely something film. And if you experience a flop, suddenly even the secretary can’t that is largely responsible for the success of his films as well. The most remember your name. That’s why many directors complain about a important thing for him – according to Buck himself – is the material kind of homelessness, which I don’t suffer from, fortunately.” and its originality. “After the success of Jailbirds, I didn’t think of a sequel immediately, as so many people would have done these days. The filmmaker also believes that the solid atmosphere of his home I think that looks too much as if you’re not actually interested in base has ensured that real flops are quasi non-existent in his career, making a good film, but are just anxious to fill your pockets as quick- despite a risky choice of material: “We don’t want to work on hot air. ly as possible.” Buck – very diplomatic – also thinks that is “OK”, but Perhaps it’s also because we only realize one film per year. Either a dif- it is not his way of approaching things. “I would get bored doing that. ferent director makes it, or I do. But the themes have got to be just That’s why I prefer to take risks.” right. We are like a small team of carpenters which only expects to construct one roof at a time. Then you automatically pay more Over the last 20 years, he has proven how well he can stick to this attention to quality.” hard-line approach on several occasions. His multifaceted stories have often been about groups in society that are otherwise ridiculed This comparison with a down-to-earth profession is no coincidence: – about illiterates, jailbirds, folks up from the provinces, and problem even to the present day, the father of three children travels regularly children – but rather than making fun of them, he recounts the events between his chosen home in Berlin and his parents’ farm in Schleswig- of their everyday lives in a warm-hearted, understanding manner. Holstein, and despite all the accolades he has collected in the film Many have called him a director of the people – and Buck’s un- world, he doesn’t necessarily see himself as part of that milieu. “I complicated, down-to-earth way of communicating underlines the want to experience something and immerse myself in new worlds impression given by his films in a very likeable fashion. that I didn’t know in that way before: that’s the real pleasure in filmmaking,” Buck sums up in conclusion and explains that most of his The astonishing thing is that even with this kind of story Buck always energy comes from his wide range of daily tasks. meets with interest from both audiences and the critics. So he fills an important gap on Germany’s bipolar film scene. “Actually, there are On the way out, I ask him whether he has never felt like letting it rip only two scenarios on today’s film scene,” Buck explains when asked just the once, saying good-bye to his principles, and making a bundle to comment on this observation. “Either you shoot through the ceil- of cash. “But why should I?” Buck asks me and laughs. “I can’t imagine ing, or you try to get positive responses from the critics and achieve a better place than the one between the devil and the deep blue sea, something on a lower track: we seem to have lost the well-managed anyway.” We tend to agree with him there, close the door – and look midfield.” How did that happen? “It’s because nowadays you have to forward to the next twenty years of determined individuality. deliver the goods on the first weekend,” Buck explains. “Slowly build- ing up your success, the way we did back then with Jailbirds, is no Johannes Bonke spoke with Detlev Buck longer an option at all now. Either you are right up there with the mainstream and you’re a success, or you work successively from the bottom and just try to get good reviews. Those two worlds don’t have very much in common with each other any more – and I think it’s a real shame, as well as being boring.”

That is why Detlev Buck’s maxim is to position himself and his films in an environment, where he can combine creative and economic interests harmoniously, without outside restraints. “Actually, I have always found myself between the devil and the deep blue sea, since I have never really belonged to either of the camps,” Buck concludes and goes on to clarify: “It’s true that I pay attention to my own signature, but I don’t make films for festivals; films to satisfy the critics. On the contrary, I want to fascinate people with a kind of material whereby it isn’t clear from the start whether they will like it. I want to show them a film that constitutes new territory. That interests me more.”

So “the courage to tackle genre” is what Buck sometimes wishes for the structure of German cinema, which still demonstrates a lack of variety in his eyes: “Either you make an attempt at a comedy or the film version of a book, there’s not much else left,” says the director, summing up his observations. He goes on to underline them with numerous examples, revealing a keen interest in his colleagues’ work.

To a large extent, Buck probably owes the success of his individualism to the cooperation with his own production company, which he grants maximum autonomy. “Almost certainly, the advantage is that in my partner Claus I have a good person to consult about material that I would like to turn into a film. If you have to produce your films

german films quarterly director’s portrait

1 · 2010 15 Ulla Wagner DIRECTOR’S PORTRAIT DIRECTOR’S otato UllaWagner A portrait of PASSION AND NUANCE worked in various film professionsaftercompleting acoursein worked invariousfilm At thattime,UllaWagner wasstillsearchinghervocationandhad for me whichprofessionIwantedtopursue.” convinced made. Itwaswatchingtheworkwith theactorsthatfinally wasbeing “Verystart. on,Iwanted tobeonthespotwhenafilm early herprofessionfrom the aspectof fascinating asaparticularly viewed depends onhowonedirects theactorsandactresses, whichshe has Wagner sofar. hasmetwithrepeated successinherfilms Itall scenerepresents challenge,butitisonethatUlla agreat in afilm tension of samemoment.Visualizingthiskind beatthevery can even example,andthis for anindividual, take emotionsmay holdof Several cliché. intothetrapof loveandpassionwithoutfalling nuancesof fine Wagner thatismorestory thanmere action,andthenitwillwork.” detail.You totella have “My styleisbasedonpreciseof observation 1 ·2010 filmsquarterlygerman knows just what she wants. In her films sheexplores the knows justwhatshewants. Inherfilms Ulla story of Anna – who faces rathermore problems thanthoseof Anna –whofaces of story The director.” featurefilm. full-length Thisalsoappliedtoherfirst asaclassicauthor- seen myself always best. ThatmeansthatIhave tobethe as possible–islikely authorsinvolved –withasmany play thescreen- intheideathateighteenth versionof believe “I don’t thatshedirected. thefilms shewastheauthor of Almost always, series tothe films documentary and alsocontributedvariousessayistic, thepubicbroadcaster WDR she workedthechildren’s for of program thechildren’s novel adaptationof film year. In1993shewonanawardfrom the FilmstiftungNRWher for the ScreenplayWorkshop Berlinwhichcovered one herexpenses for an assistantdirector andawriter. from agrant In1989 shereceived TVdramaatbroadcaster SFB),as of (includinginthedepartment gy inBerlin:casting,dramatur- Theater StudiesattheFree University Kunststuecke email: [email protected] email: [email protected] Contact: Zeitstuecke Max include: theBestActress.for Herotherfilms where leadingactress BarbaraSukowatheprize received theMontreal World FilmFestival, competition of official andscreened inthe festivals toseveral 2008, wasinvited author UweTimm –premiered cinemasin inGerman wurst Curried Sausage Award inVancouver in2001.Herfilm andwontheYouth successatfestivals was agreat Jury Wunder featurefilm full-length shemadeherfirst films, short works organizedbytheFilmstiftungNRW. Afterseveral literary screena prizeincompetitionfor adaptationsof from theScreenplayWorkshop Berlinandin1993shewon companies.agrant television In1989shereceived German She hasworked asadramaturge,authoranddirector for thecinema). for films andinternational German casting of productiontelevision (includingresponsibilitythe for and film versity. From 1985sheworked invariousareas of completed anM.A.inTheaterStudiesattheFree Uni- Westphalia. Today, inBerlin,where shealso shelives Ulla Wagner , 08 h dpaino abest-sellingnovellaby , 2008)–theadaptationof Unzeit . ntebsso herownscreenplay. Thefilm on thebasisof . , was born inDuerenRhine- was born inNorth Max malvier ( Die Entdeckung derCurry- Wacholderzauber director’s portrait The Invention of , Error . Subsequently, Bella and , and Anna 29 16 puberty in a small German town during the 60s – is not autobiogra- a film that isn’t historical and yet still reflects my style.” Might that phical, “but it does have a few personal implications.” include a screenplay that has been written by a different author? “It’s always better if you know what story you want to tell and have It is about gradually entering adulthood and simultaneously finding written the screenplay for it, too. But of course, I wouldn’t refuse a one’s way in the chaos of emotions felt by those who are already finished screenplay that was offered to me if it was good and I really adults, pursuing one’s own desires, and emerging from all this stron- liked it.” ger than ever. Anna Wunder represented a breakthrough for au- Josef Schnelle spoke with Ulla Wagner thor and director Ulla Wagner. A co-production by Pandora and C- Films, it sold in many regions, enjoyed a successful run in the cinemas and even found an audience in distant Japan. Ulla Wagner won the Youth Jury Award for Best Film at the festival in Vancouver, and her film was also nominated for the most important German TV award, the Adolf Grimme Prize.

Her work continued with the much-praised adaptation of a novella by Uwe Timm, who also works as a screenplay author; however, he did not wish to turn this obviously very personal material into a screenplay himself. “After our conversations, he was very willing to put the book into my hands and to accept my condition, which was a free hand with the adaptation.”

The Invention of Curried Sausage tells the story of Lena, a woman who helped clear the rubble in Hamburg after the devastation of World War Two. She is confused and excited – curry adds new spice to her life, so to speak – after unexpectedly encountering a young navy officer. Her world is turned upside down, including the value system of marriage and relationships. Lena is almost 50, a woman who feels she may not be attractive much longer; she is given perhaps the last chance to live a completely different life, a fantasy of love and passion. Ulla Wagner masters an unusual tightrope walk in this film. It is never historicizing, because we sense that every radical change in the times triggers the opportunity for a new individual beginning, and that every passion, however tentative, may have monumental consequences.

Contrary to opposing rumor, even historical movies are always set in the here and now. Barbara Sukowa’s achievement as an actress in the film is quite outstanding; she was one of the most important actresses of the New German Film era, e.g. under the direction of Rainer Werner Fassbinder, Margarethe von Trotta and Volker Schloendorff. In Ulla Wagner’s film she celebrated a comeback wel- comed by critics and audiences alike, and also succeeded in winning the prize for the Best Actress at the Montreal World Film Festival in 2008, where The Invention of Curried Sausage was shown in the highly-regarded international competition.

Asked how she convinced Barbara Sukowa to take the part, Wagner answers: “You can win over the best actors with a good screenplay. Actors want to act and they quickly recognize any good part that is offered to them.”

Ulla Wagner’s casting experience is obvious in the choice of actors for her films, even down to the smallest of parts. “I love all the phases of direction work, up to post-production. The casting is interesting, like the choice of locations, the sets, and then the work with the actors and the perspective through the camera. After this, there is the actual work of shooting. Being under pressure is all part of it. You hardly get any sleep, but it’s always amazing what you can manage to achieve in such a compact time.”

Ulla Wagner is not prepared to reveal much about her upcoming films yet. She selects her projects very carefully. “But perhaps it’s time for

german films quarterly director’s portrait

1 · 2010 17 PRODUCERS’ PORTRAIT

Frisbeefilms GmbH & Co. KG was established in Berlin at the beginning of 2006 by the brothers Alexander and Manuel Bickenbach to develop stories for national and international feature films and TV movies. Previously, Alexander’s graduation film from the Baden-Wuerttemberg Film Academy, Let The Cat Out Of The Bag (Katze im Sack), had been produced with Frisbeefilms, receiving the prizes for Best Screenplay and Best Film Score at the Max Ophuels Film Festival and the First Steps Award in 2005, among others. Manuel completed his studies in Ludwigsburg with Toke Constantin Hebbeln’s Nevermore (Nimmermeer) which won the Student Academy Award in 2007 in Los Angeles and two prizes at the 40th Hof International Film Festival. The young company followed this with the omnibus film Berlin – 1st of May (1. Mai – Helden bei der Arbeit), the opening film of the Berlinale’s Perspectives German Cinema sidebar in 2008. Carsten Ludwig and Jan-Christoph Glaser’s 66/67 – Fairplay Is Over (66/67 – Fairplay war gestern), the winner of the Golden Icon Award at the Zurich Film Festival, and Maximilian Erlenwein’s Gravity (Schwerkraft), winner of the First Steps Award and the Max Ophuels Prize 2010, are both screening in this year’s Berlinale sidebar German Cinema. Production is planned for early 2010 for Marc Bauder’s Das System. Frisbeefilms has been supported since September 2007 by the VFF Business Angels program and can draw on the experience and know- how of the producers Oliver Berben and Dr. Georg Feil. Both of the Bickenbach brothers attended the Hollywood Workshop at UCLA. In 2008, the company received slate funding support from Medienboard Berlin-Brandenburg and is developing new projects by outstanding German writing and directing talents.

Contact: Frisbeefilms GmbH & Co. KG Mulackstrasse 19 · 10119 Berlin/Germany phone +49-30-24 62 83 30 · fax +49-30-24 62 83 31

Alexander and Manuel Bickenbach (photo Alexander and Manuel Bickenbach © S. Kulbach/Frisbeefilms) email: [email protected] · www.frisbeefilms.com

COMING FULL CIRCLE A portrait of Frisbeefilms

Brothers Alexander and Manuel Bickenbach might not have After working for such diverse companies as Viva 2, Magic Media come to make careers as producers in the film industry if it hadn’t Company and Fremantle Germany, Alexander began studies in been for their parents. Production at the Baden-Wuerttemberg Film Academy in Ludwigsburg in 2000, graduating in 2005 with fellow student Florian “They often took us to museums, theaters, the opera and showed us Schwarz’s feature film and First Steps winner Let The Cat Out Of films if they thought a film was outstanding,” recalls Alexander. “These The Bag, which also won several national and international prizes. were the first steps into the world of cinema, which combines all art forms.” “Studying in London really helped to widen my horizon as I lived with so many different cultures side by side in this high speed city,” says Working in the media business had been the brothers’ career goal Manuel, who came to Berlin after his time in the UK, working for after finishing school: Alexander had originally studied Business in distributor X Verleih and the production company Zeal Pictures be- Trier, while Manuel – who is three years younger than Alexander – fore applying for the Production class in Ludwigsburg. first studied Business Administration with a focus on international marketing in London. During his studies he produced the animation short My Date From Hell, which had its premiere in Cannes as part of the Next

german films quarterly producers’ portrait

1 · 2010 18 Generation program, and completed his studies in 2006 with the pro- “With Oliver Berben, we can discuss a broad spectrum from art- duction of Toke Constantin Hebbeln’s Nevermore, which went on house through TV movies to commercial blockbusters, while Dr. Feil to win the Student Academy Award in 2007. has supported us more on the dramaturgical aspects and strategic decisions,” Alexander explains. “They have the same passion for film “That was quite a historical moment for us when we slipped Heinz as we do and their mentoring is a great advantage for our young pro- Badewitz a copy of the film during Cannes 2006,” Manuel recalls, duction company.” “because it went on to win the two main prizes at the festival in Hof. Then, when we were nominated for the Student Academy Award, The next project set to go into production will be Marc Bauder’s fic- and later won the prize, it was like the circle had been completed and tion feature debut Das System, which Frisbeefilms will shoot this we finally got the feedback we were dreaming about. It was the spring. Henry Huebchen (Whisky with Vodka) and Jacob Matschenz second time to come to L.A. after we had both had the chance to (Berlin – 1st of May) are cast in the leads. This should be fol- participate in the Hollywood Producers Program at UCLA where we lowed later in 2010 by Student Academy Award® winner Toke received insight into the American film industry – from the indies right Constantin Hebbeln’s feature debut Niemandsland – an epic love through to the big studios.” story set in the two Germanies around the time of the fall of the Wall – which will be produced with UFA Cinema and distributed theatri- The brothers had already founded Frisbeefilms in 2005 to pro- cally in Germany by Universal Pictures. duce Let The Cat Out Of The Bag with the Film Academy and broadcasters Hessischer Rundfunk and ARTE, but the company in its “This project is a giant step for us, and it is important to have an present form was established at the beginning of 2006. experienced partner like UFA Cinema with a strong distribution structure like Universal,” Manuel says. “My brother and I have the same taste so we don’t have to spend too much time discussing,” Manuel explains. “We like the same kind of While the focus of the company is currently on Germany, the films and directors. The division of labor depends on the particular Bickenbach brothers are open to cooperation with international part- talents and who has worked with whom the longest. We keep each ners when it makes sense for a project. “We are looking for some- other informed about the different projects, so we both have an over- thing unique in each project, furthermore we try to find the respective view of the artistic and financial aspects of each project.” market – i.e. arthouse/festival market, TV market, or the commercial cinema market,” Alexander suggests. In fact, they have become aware of most new interesting talents at festivals. “When Florian Schwarz’s film was showing in the Berlinale’s International financing would seem to be a possibility for the next Perspectives section in 2005, he told me to go to see the short project by Florian Schwarz written by Michael Proehl, an international Blackout there by Maximilian Erlenwein and we met with Max and said book adaptation of A.L. Kennedy’s novel Original Bliss. Moreover, we would like to work with him,” Alexander recalls. “The result was new feature projects are in development with outstanding talents, so the First Steps winner Gravity which will open in German cinemas Manuel and Alexander have plenty to keep them busy. this March.” TELEPOOL is handling the international sales. All that remains is to ask how they decided on the name Frisbeefilms “The connection with Ludwig & Glaser [directors of 66/67] goes for their company which now has a presence in Berlin and will open a back even further,” Manuel adds. “Their extraordinary film Detroit new office in Cologne soon. showed at the film festival in Munich before we’d made Let The Cat Out Of The Bag and that drew our attention to their lead “We always liked playing Frisbee together as kids,” Manuel explains. actor Christoph Bach, who we then cast for the lead in our film.” The “For us, the name is symbolic of a lightness, a team game and dyna- directorial duo were then part of Frisbeefilms’ omnibus film Berlin mism reflected in our company. A powerful start, a safe flight and a – 1st of May which was the opening film of the Perspectives perfect landing.” German Cinema sidebar at the Berlinale in 2008, and their third collaboration in summer 2008 was the social drama 66/67 – Fairplay Martin Blaney spoke with Alexander and Manuel Bickenbach Is Over, which won the Golden Icon Award at the 2009 Zurich Film Festival.

“We are looking to work with our directors on projects which would also draw us into the cinema,” Manuel says. “We want to preserve this young rebellious energy of our first films, and the German TV departments for debuts and the German funding system have been the perfect partners for this. We see ourselves as standing for films that are edgy and looking for new avenues, new narrative forms and a different kind of dramaturgy. At the same time, we are also thinking of tackling more popular subjects and taking that second step from arthouse to a larger audience.”

Thanks to slate funding awarded by Medienboard Berlin-Brandenburg in 2008, the company has been in the position to have a number of projects in development at the same time. It has also benefited from the VFF’s Business Angels program, which has allowed the brothers to draw on the experience of producers Oliver Berben and Dr. Georg Feil. german films quarterly producers’ portrait

1 · 2010 19 Nora Tschirner (photo © Alex Trebus) ACTRESS’ PORTRAIT ACTRESS’ later atRosaLuxemburg GrammarSchoolinPankow, school,and atelementary actingbeganasachild:even Her loveof all demonstrate an affinity to her film characters. Thereason our for toherfilm all demonstrateanaffinity humor, quick-wittedness and nonchalantdepth–traitsthat sense of jacket Secondly, andathickknittedscarf. sheradiatesa whentalking in FriedrichshainPark in Berlin,shekept cosywithablack,hooded Tschirner all, Two things are noticeablewhenyou meether. Firstof Nora Tschirner A portrait of OFTHE COMEDY QUEEN · 2010 1 filmsquarterlygerman likes towearblack.Atourmeeting inCaféSchoenbrunn Nora Nora all it was worth after the first film hadattracted6.3millionviewers. It film afterthefirst all itwasworth something for milking skeptical,” sheadmits. amatterof “Butitwasn’t course, we were all made.“At sequelthatshehadever of first first, itisthe for year-old withthisfilm, actress hasconquered territory new hit box-office meeting ishercomedy the children’s book spring 2010shewillalsobereturningtocinemasinanadaptationof Hannes’motheronceagain.In sequel tothis, shetookontherole of hn 4-14- 26 0·fx+98 399 991 69 ·www.pr-emami.deemail: [email protected] 92 43-9 +49-81 90·fax 69 92 43-9 phone +49-81 Geyerstrasse 13b·80469Munich/Germany pr emami Contact: comedy comedy cameras: shecouldbeseenalongsideRickKavanianinthescrewball the torealizenon-stop opportunities hercomictalentinfront of ohrhasen Schweiger inhisromantic comedy Lem,sheplayedtheleadingroleDiaries byStanislaw alongsideTil series thesciencefiction ing of Hamburg.Following theshoot- the German-Turkish-Greek milieuof she made Geschaeft, Liebling Saul inhisculture-clash comedy director thecamerasfor Anno was highlighted.Beforethis, shefaced talent by UteWieland,inwhichtheHSVHamburgfan’sownsporting teenagers thebookfor 2009), shealsoactedinChristianDitter’sversionof film Ears Zarauza.Beforethesequelto Alfonso tion of series alongsideMTVcolleagueChristianUlmeninhisrealitypart comedy bestsellerbyBenjaminvonStuckrad-Barre.Her the autobiographical ma role inGregor Schnitzler’s comedy leadingcine- timingasacomedianinherfirst naturalness andskilled younga rolemany women.Shemademarkwithher modelfor humor, soonmadeherinto young Berliner, togetherwithhersenseof a MTV.music program Thenatural,relaxed andopenmannerof the TVaudiencesasapresenterwas alreadyknowntoGerman of Pocher series evening intheearly leading role alongsideFlorentine Lahme,JochenSchropp andOliver Wall RomeoandJuliet, versionof German-German inConnieWalther’s appearanceinafeaturefilm, marked herfirst theTVchildren’s series episode of thecamerasinan madeherdebutfor andaradiojournalist filmmaker adocumentary various schooltheaterproductions. Thedaughterof Tschirner , entitled Ulmens Auftrag ( Wie Feuer undFlamme Killing isMyBusiness, Honey La nochequedejódel The Crocodiles , 2007).Subsequently, NoraTschirner hasbeenoffered · SohelaEmami – born inEastBerlin1981–tooktothestagefor – born Rabbit Without Ears Rabbit Rabbit Without Ears 2 Rabbit Hier kommt Lola! led to the football comedy comedy led tothefootball Rabbit Without Ears 2 Rabbit , 2008)bySebastianNiemann,andinSpain ( Ijon Tichy: Raumpilot Ijon Tichy: Vorstadtkrokodile Kebab Connection Rabbit Without Ears Rabbit Achterbahn Sternenfaenger ). This was followed byherfirst ). Thiswasfollowed Soloalbum lover lover by Til Schweiger. The28- (2010). (2008) underthedirec- in 1997.Theyear 2000 ( Never Mindthe Rabbit Without Rabbit Zweiohrkueken ( FC Venus . Beforethis, Nora Mord istmein actress’ portrait based ontheStar (2003), basedon , sequeltothe , 2009).Inthe (2004), setin ( Kein- (2006) , 20 was obvious from the beginning: if we can’t manage to produce a home and very happy in film-Germany.” Among other things, this is good screenplay, we’ll forget it. But the skepticism only continued to because German filmmakers are prepared to take greater risks and a point. There are a lot of bad sequels. So if we could manage to are learning to believe in themselves more and more. “And they have make a good one – why not?” stories that are not so hyper-intellectual and a little ‘bigger’,” Tschirner says. “In the end, that’s what it’s all about: do you restrict In Rabbit Without Ears 2, Nora Tschirner proves once again your ideas and stay with the same little story? There is a new genera- that she is one of Germany’s few truly funny women. Her talent as a tion of filmmakers that simply believe in their own ability to do comedian is based on her confident skill as an actress – but above all more.” on her authenticity and sheer love of fun and acting; and on many years experience of how to make people laugh. “After all, I didn’t Even though Germany will remain her professional home, occasional- become an actress yesterday and I certainly took to comedy long ly she flirts with other film countries. The actress has a great talent for ago,” she says. “I feel as though I have been a comedian since the age languages, speaking English fluently as well as Spanish, and she has of five. Years and years of practice! I have always been very inte- made two films in Spain. “That happened after Kebab rested in humor and its structure. Naturally, in the course of time you Connection had been shown at the Festival of German Films in learn many things and master a wide range and various useful comic Madrid,” she explains. “People saw me there and later cast me as a aids, like the right timing. That isn’t especially difficult if you are a leading actress in the Spanish production La noche que dejó de humorous person in your private life as well.” llover. I played a Russian woman, true, but it was all in Spanish. That led indirectly to another production with a Spanish director, a Spanish In matters of humor, Nora Tschirner demonstrates good taste and leading actor and a Spanish team. And I hope that it wasn’t the last sure style as a consumer as well: besides Wolf Haas, the author of the time. I would love to be able to work in Spain more often.” “Brenner” novels (“The man is a language genius, absolutely unique!”), and the American comedy duo Tim & Eric, she laughs most at Like many actors and actresses, she also profits from the international German icons of comedy such as Christian Ulmen, Hape Kerkeling, exchange and faster forms of communication developed in the crea- Kurt Kroemer, Olaf Schubert and Loriot. “And my friends. I have very, tive industries some time ago. Due to co-productions and financial very funny friends. Like Anika Decker, the author of Rabbit participation, filmmakers abroad are noticing German actors more Without Ears 2. Or my cousins, my uncle, my brothers, and my and more. Nora Tschirner, who quickly takes up her iPhone and father, and of course my mother… I’m simply surrounded by hila- checks her appointments and emails when we have finished talking, rious people. So it’s no wonder that it rubs off on me somehow. explains this phenomenon in the words of a modern young woman Although I’m absolutely convinced, of course, that I am the funniest influenced by the Zeitgeist: “Of course globalization leads to globa- person in my family! Ha.” lization in the film business. The world is growing closer together here, too, ways are getting shorter and people get to know one an- In conversation, it soon becomes clear that Nora Tschirner is capable other faster and better. Personally, but also via the Internet, via of saying some very clever things as well as being witty. And because YouTube – there, it’s much easier to find out what an actor or actress she is also capable of self-irony, this has gained her a lasting image as has done before at home, and to gain some impression. It’s a great an authentic, humorous and smart actress with the gift of the Berlin development, because more exchange emerges as a result. It’s like a gab. Asked whether such a flattering picture could also get on one’s huge school theater festival on an international level.” nerves, she considers briefly. “To be honest, I haven’t really thought about that,” she confesses. “It may be that now and then it’s possible Eric Stahl († 2009) spoke with Nora Tschirner to see something of me personally, or at least people think they can see something of me in my roles. And because of my public appear- ances and my work for MTV, people think they know me. But my image doesn’t get on my nerves. Anyway, actually I only rely on the judgment of a very few people who are close to me, those who I trust.”

Her naturalness and talent have also attracted the attention of international audiences. In recent years, however, Nora Tschirner only knows about international viewers’ reactions via hearsay. “The last time I attended a festival abroad was with Kebab Connection,” she recalls. She wasn’t there when her film La noche que dejó de llover, made in Spain, was shown at festivals, “but the director Alfonso Zarauza told me about the reactions – when he was in Chile with the film, he told me: ‘They all ask me who is this wonderful Russian actress.’ Of course I’m really happy to hear that.”

There are plans to show Rabbit Without Ears to audiences outside Germany as well: Til Schweiger is considering a US-remake of his box-office hit. And Nora Tschirner believes that German film is quite strong enough to earn international attention. “I’m a fan of German films. Usually, I’m pleased when I get a new screenplay, because the scripts are often so good these days, and people with visions, courage and great ideas are working in the film world. I feel very much at

german films quarterly actress’ portrait

1 · 2010 21 NEWS 1/2010 Scene from “Cindy Scene from liebt mich nicht” (photo © avBader) medien penrose/Alina

SUPPORT FOR THE SHORT REPORT 2009 UP-AND-COMING GENERATION In October 2009, the German Short Film Association (AG While the MFG Filmfoerderung does not have an explicit budget Kurzfilm) published the third edition of its magazine which is dedicated for such, the support of young talent is an essential part of the film entirely to German short film. Just like the short film scene, the SHORT funder’s mission. Projects by young directors and producers are report itself is subject to constant changes, but of course it also supported directly out of the total budget and are therefore not lim- reaches back on that which has proven itself. Hence yet again this year, ited to a certain category. In 2009, over 40% of MFG’s funds were the edition has one major thematic focus that fits in excellently with allocated to the production support of the newcomer generation. the 20th anniversary of the fall of the Berlin Wall: Underground film on both sides of the Wall. And there is one more reason to celebrate. The feature Cindy liebt mich nicht, by Hannah Schweier, is just one of One hundred years ago, the first German animated film was made. the many newcomer projects supported by MFG in 2009. The pro- And as to be expected, filmmakers also get a chance to have their say duction by Stuttgart-based av medien penrose, in co-production with in the report. Penrose Film and ZDF’s Das kleine Fernsehspiel, was realized in cooperation with the Baden-Wuerttemberg Film Academy and is being As a printed publication, SHORT report is intended to complement screened in the Berlinale’s Perspectives German Cinema section. Shot the existing short film portal shortfilm.de. Furthermore, its aim is to mostly in Mannheim and Karlsruhe, the film tells the story of two provide international industry professionals, e.g. editors, journalists thirtysomething men who couldn’t be any more different and have no and festivals with insight into the vivid German short film scene. clue that they are both involved with the same young woman. But SHORT report is available on request from the AG Kurzfilm: when she one day simply disappears, the two men meet and together www.ag-kurzfilm.de. go on a search for her. Their journey takes them to Denmark, where they not only learn the whole truth about their girlfriend, but also quite a bit about themselves.

german films quarterly news

1 · 2010 22 At the beginning of 2010, the 3D remake of the fantasy feature The Gate will start shooting at the Cologne-based MMC Studios, with MMC Independent producing the elaborate production directed by Alex Winter. Forty of the 45 shooting days will be taking place in NRW.

WERNER HERZOG COLLECTION IN BERLIN

The Deutsche Kinemathek – Museum fuer Film und Fernsehen has taken the Werner Herzog Collection, a collection of works by the author and director, into its permanent exhibition. With films like Even Dwarfs Started Small (1970) and Nosferatu the Vampire (1978), for which he also penned the screenplays, Werner Herzog became one of the most well-known representatives of the New German Film era. He worked together with German and international stars, including Eva Mattes, Bruno Ganz, Isabelle Adjani and Claudia Cardinale, as well as with amateur actors, i.e. Bruno S. in Every Man for Himself and God Against All (1974).

From the beginning of his career, Werner Herzog has shot international films and directed both features as well as documentaries. Some of his most well-known films were the productions with Klaus Kinski: Fizcarraldo (1982), with Kinski in the leading role, won the

Wim Wenders during the shooting ofWim Wenders 2009) “Pina” (photo © Donata Wenders, Golden Palm in Cannes for Best Direction. Herzog’s films unfold a strong, visual strength; he tells stories about underdogs and lone NRW IN 3D wolves who are willing to go to extremes to realize their dreams.

The “filmland” North Rhine-Westphalia is forging ahead in new The Deutsche Kinemathek honored Werner Herzog’s work in 2002 dimensions: two 3D productions, Pina and The Gate, are currently with a special exhibit and has of course included him in the museum’s being produced in Germany’s most populated state. Wim Wenders is permanent exhibit on the history of German cinema. The Werner working on his homage to the late dancer and choreographer Pina Herzog Collection contains film material, photo stills, original screen- Bausch in Wuppertal. The project, which he prepared together with plays, production notes, props, and documents from the director’s Pina Bausch before her death in June 2009, is recording four of the stage productions. Within the framework of the 60th Berlinale, the legendary dance theater’s pieces at the Wuppertal Opera. The 3D Deutsche Kinemathek is presenting the collection at the Filmhaus on technology brings the spectator even closer to the dancers and, Potsdamer Platz in Berlin. thanks to the dolly, provides direct and fascinating impressions that a theater-goer would normally not be able to experience. Werner Herzog on the set of Herzog Werner “Fitzcarraldo” (photo courtesy of Filmmuseum Berlin – Deutsche Kinemathek)

german films quarterly news

1 · 2010 23 RENDEZ-VOUS IN STRASBOURG Germany about the various possibilities. The last panel discussion centered on the protection of copyright, the French Hadopi law and The 7th German-French Film Rendez-vous was held from VOD business models. 26 – 28 November 2009 at the Cité de la Musique et de la Danse in Europe's “secret capital” Strasbourg. Over 300 filmmakers from both The 8th German-French Film Rendez-vous will be held from 25 to 27 countries took part in animated discussions with top-notch panels on November 2010 in Heidelberg. topical issues from the cinema industry. The event opened with Peter Dinges (FFA) and Valérie Lépine-Karnik (CNC) coming to a pleasing conclusion about the status quo of German-French co-production: MDM STRENGTHENS 14 co-productions in 2008 and 17 in 2009 show that the mini-traité GERMAN-POLISH BOND funding has resulted in the number of co-productions between the two countries rising to a stable level. For the development of German-Polish film projects, Mittel- deutsche Medienfoerderung (MDM), Medienboard Berlin- Brandenburg and the Polish Film Institute have decided to increase the maximum amount of project funding within the framework of the German-Polish Co-Development Fund. Producers can now apply for €60,000 in support, in some cases for as much as €100,000 per project. With the help of the allocated funds, a number of German-Polish projects have already been supported, including the Quay Brothers’ Sanatorium Under the Sign of the Hourglass.

In October 2009, MDM also supported the interdisciplinary short film project Ansichtssache 2009 in Lodz. Students of the German Literature Institute in Leipzig and the State Academy for Film, Television and Theater “Leon Schiller” in Lodz developed six films that were shot in Poland and are being screened this year at national and international festivals.

GERMAN SHORT FILMS TOUR CHINA WITH BLITZFILM

China is not a country that can be taken by storm; it is a country that is well aware of its own importance. The Blitzfilm initiative was fortu- nate enough to be invited there by a Chinese curator and to be able to gather experience and establish contacts over three years. In the fall of 2009 the Blitzfilm Festival (supported by German Films and Filmfoerderung Hamburg Schleswig-Holstein) toured China for the fourth time. Twenty-four screenings took place in ten cities, in- Peter Dinges, Antoine de Clermont-Tonnerre, Peter Sehr (photo © Benoît Linder/French Co.) Sehr (photoCo.) © Benoît Linder/French Peter Antoine de Clermont-Tonnerre, Dinges, Peter (photo © Martina Stache) The co-production market dominated the afternoon of the first day: 21 projects from Poland, Germany and France – 14 feature films, 6 documentaries and one animation film – had been selected for the market. The potential partners became better acquainted in one-to- one meetings.

Apart from focusing on new regulations in Germany and France (FFG revision and Crédit d’impôt international), the program was also dedicated to presenting the French institutions IFCIC and Coficiné that are specialized in credit financing for films. Jacek Fuksiewicz (Polish Film Institute) and producer Maciej Strzembosz then reported Weber & Karsten Uwe Bastiansen, Shi Ying, Bojana Dimitrovska on production opportunities and film funding in Poland.

Also on the agenda was the hot topic “digitalization of the cinemas” and, in particular, the financing of the conversion. While France has since found a model for all players, discussion is still continuing in

german films quarterly news

1 · 2010 24 cluding major events at universities, screenings in spaces belonging to the free art scene and in the mega cities’ most important galleries, as well as open-air events for the rural population. The tour venues were Chongqing, Chengdu, Honghe, Shanghai, Suzhou, Nanjing, Guangzhou, Macao, Xioazhou and Shenzhen.

Long years of experience in organizing film events and as filmmakers helped the organization team led by Karsten Weber (Filmgruppe Chaos) to adapt to the partners’ individual wishes on the spot. Spontaneous lectures were held on current developments in European film, talks were given about details of the filmmaking art beyond digital film-processing, and material was consolidated in workshops.

A selection of 54 films was presented, including not only politically sensational works, but also experimental productions narrated in a non-linear way or completely non-narrative films – with further ex- planation in some cases. The audiences were obviously very grateful for this diverse mix of pure entertainment and work that was more difficult to access. The opportunity to discuss what they had seen (photo “Metropolis” courtesy Scene from of Deutsche Kinemathek) became as important as the film programs themselves.

Contacts ranged from culturally and politically subversive artists to representatives of the art business, of universities and colleges, and even to party officials. They were all impressed and expressed the desire to continue the collaboration. More information can be found at www.blitzfilm.de.

THE COMPLETE METROPOLIS

Before its premiere in Berlin in 1927, Fritz Lang’s Metropolis was advertised as the most expensive and biggest film production in the world. However, opened hesitantly in only one Berlin movie theater, the film became a flop that would intensify Ufa’s financial crisis. A version shortened by almost a third, whose content was mutilated as a result, went into international distribution. Metropolis did not achieve fame as an epochal masterpiece of German silent films until the 1970s, when a whole generation of filmmakers began to recognize it as the mother ship of all science fiction films. George Lucas designed the robot C-3PO in his Star Wars saga after the model of the robot Maria. In Blade Runner, Ridley Scott created buildings based on those in the classic film, while pop stars like Queen and Madonna quoted Metropolis in their music videos. missing scenes is illustrated – from the damaged 16 mm copy through The lost original version of the film was first rediscovered in Buenos to the revised digital images. Additionally, an audio guide provides Aires in 2008. Metropolis was then reconstructed and restored on excerpts of the film music and narration about the making of the film. behalf of the Friedrich-Wilhelm-Murnau-Foundation and its partners. This new version will premiere on 12 February 2010 in Frankfurt and This assembly of exhibits from the extensive collections of the Berlin at the 60th Berlinale. It seems to be the perfect occasion for the Deutsche Kinemathek and the Cinémathèque française, together with Museum fuer Film und Fernsehen to tell the story of its arti- film clips from the Friedrich-Wilhelm-Murnau-Foundation, makes a stic vision and the gigantic production of the film in The Complete new and deeper understanding of the film possible. The special exhi- Metropolis. bition is a result of collaboration with the Friedrich-Wilhelm-Murnau- Foundation and is supported by funding from the Hauptstadt- The exhibition takes the scenes of the film as its focus, revealing di- kulturfonds. verse sources and original objects along a path through the city of Metropolis, including the original novel and film script, several hundred The book Fritz Langs Metropolis (available only in German), produced working photos, props, working materials, cinematographic equip- and edited by the Deutsche Kinemathek, is being published for the ment, costumes and set designs, trick paintings and the scores of the exhibition by Belleville-Verlag. It includes essays on the history and film music. Although the original costumes have not been preserved, importance of the film, its lore and the reconstruction of its various two of them have been especially recreated for the exhibition by the versions, as well as the rediscovery of the premiered version. costume company Theaterkunst, which supplied the film with costumes in the 1920s. Moreover, the current restoration process of the german films quarterly news

1 · 2010 25 8TH FESTIVAL OF GERMAN FILMS IN RUSSIA A GREAT SUCCESS

Held in Moscow, St. Petersburg and Novosibirsk in December, the 8th annual Festival of German Films in Russia, organized by German Films in collaboration with the Goethe-Institut, was a complete success in all three cities. Although the festival was one day shorter in 2009, the attendance of some 5,000 cinemagoers was almost as high as the event in 2008. German Currents German Films Brunch (photo © Volker Corell) German Currents German Films Brunch (photo © Volker Julia Hanske (Goethe-Institut), and Julia Hanske GERMAN CURRENTS FOCUS ON NRW IN L.A. Julie Kroll (Summerland Entertainment) Julie Kroll and Oliver (German Mahrdt Films) at the

From 30 September – 4 October 2009, the Filmstiftung NRW and the in Novosibirsk Olga Shepelova (Kino Pobeda) Goethe-Institut Los Angeles, with support from German Films, presented 12 current film productions at the German Currents. Guests from Germany travelled for each of the films to L.A. for the Simone Baumann (German Films), Ina Weisse, Director screenings at the Kino Aero Theatre of the American Cinematheque in Santa Monica. Among the event’s guests were the actor Benno Fuermann and producer Boris Schoenfelder for the opening film North At the opening film Whisky with Vodka, the 550-seater cinema in Kino Face by Philipp Stoelzl. 35mm was packed when the Ambassador of the Federal Republic of Germany, Dr. Walter Juergen Schmid, formally opened the festival in During the German Films Brunch, German Films’ US representative Moscow on December 3rd. The lead actor Henry Huebchen and pro- Oliver Mahrdt was introduced to industry representatives in Los ducer Christoph Mueller presented the film to an enthusiastic audi- Angeles. As of 1 July 2009, Oliver Mahrdt is now German Films’ ence and gave numerous interviews. The director Ina Weisse and lead representative for both the east and west coasts of the USA, as well actor Josef Bierbichler were given a similarly warm reception by the as Canada. Russian audience at a sold-out screening for the closing film of the Moscow festival The Architect, as was Lancelot von Naso with his first During the event Niko von Glasow’s award-winning documentary feature film Ceasefire. NoBody’s Perfect was sold to the US distributor Lorber Media. The cinema was also packed to the very last seat for the screenings of My Words, My Lies – My Love by Alain Gsponer, Hilde by Kai Wessel, the omnibus film Germany 09 and the documentary In Berlin by Michael Ballhaus and Ciro Cappellari. Ines Christine Geisser represented the short film program NEXT GENERATION as the director of the short film Rose-Colored and answered numerous questions at the Q&A after the screening.

The interest in German films is currently big in Russia: both Whisky with Vodka (Kino bez graniz), as well the children’s film Jasper: Journey to the End of the World (Super Music), which was also shown at the festival, have already been sold to Russian distributors. Negotiations are also underway for John Rabe by Florian Gallenberger and My Words, My Lies – My Love.

Further films in the festival program were the documentary Ballada by Andreas Maus, the TV-movie My Son’s Jihad by Nina Grosse, the short films Styx by Aike Arndt, The Last Wheel by Olaf Held and Kokon by Till Kleinert. Oliver (German& Michael Schmid-Ospach Mahrdt Films), Margit Kleinmann (GI LA), Claudia Droste-Deselaers Corell) (German Rupp (GI LA), Nicole Kaufmann Films) (photo Andrea © Volker (Filmstiftung NRW),

german films quarterly news

1 · 2010 26 SOIRÉE ALLEMANDE ANNIVERSARY by Matthias Mueller and Christoph Girardet Contre-Jour, the docu- IN CLERMONT-FERRAND mentary Tomorrow-Jeah! by Daniela Abke, the fiction film Zeitriss by Quimu Casalprim I Suárez and the Irish-German co-production and In 2010, the French-German cooperation had reason to celebrate – winner of the German Short Film Award Please Say Something by the fifth edition of the “Soirée Allemande · Coup de Cœur – Le Court David OReilly. Métrage Allemand” project had its premiere at the 32nd edition of the International Short Film Festival Clermont-Ferrand, which is one of the world’s premier cinema events dedicated to short films. This extraordinary short film project is a cooperation of the German Short Film Association, German Films, the Festival du Court Métrage Clermont-Ferrand, the Goethe-Institut Lyon and the KurzFilmAgentur Hamburg. After its premiere at the festival in Clermont-Ferrand, this program will be touring the Goethe-Institutes of French-speaking countries and institutes of the Alliance française.

The films of the Soirée Allemande are: Fly (Piotr J. Lewandowski), Scene from “Please Say Scene from Something” Flying High (Stephan Mueller, Oliver Walser, Erik Schmitt), Never Drive (photo © David OReilly Animation) A Car When You Are Dead (Gregor Dashuber), Patience of the Memory (Vuk Jevremovic), Cyclist (Marc Thuemmler), Back to Blue (Daniel Harder, Franck Pimenta, Peter Fox), Terminal (Joerg Wagner), The Da Vinci Timecode (Gil Alkabetz) and Yonder (Emilia Forstreuter). (photo © Sweet Home Studio) Scene from “The Da Vinci Timecode” Scene from

Another premiere at the festival was the presentation of the German Short Film Association’s short film catalogue German Short Films 2010, which contains 100 of the most interesting short film productions of 2009 as well as an extensive service appendix. The association – in cooperation with German Films – was also present with a booth at the short film market in Clermont-Ferrand and organized the market screening “Matinée Allemande · Coup de Foudre – Le Court Métrage Allemand” with another nine impressive German short films.

With the outstanding number of 6,600 entries from 113 countries, the festival has proven once again its status among short film festivals worldwide. From Germany alone, the festival received 385 short films for consideration. From those entries, the festival chose eight German productions and co-productions to compete with many other international short films in the International and Lab Competitions.

The films in the International Competition were: The homage to Aki Kaurismaeki Betty B. & The The’s (Felix Stienz), German Short Film Award-nominee Fly (Piotr J. Lewandowski) as well as the co-productions Efecto Dominó (Gabriel Gauchet, Cuba/Germany) and Did Michael Knight End the Cold War? (Stepan Altrichter, Czech Republic/Germany). The Lab Competition included: the new film

german films quarterly news

1 · 2010 27 IN PRODUCTION

Getting the project financed was not an easy proposition, but producer Boris Schoenfelder took up the challenge and brought two public broadcasters, SWR and ARTE, onboard along with Medienboard Berlin-Brandenburg and the German Federal Film Fund (DFFF). In addition, Albania’s National Center of Cinematography contributed € 250,000 to the € 1.2 million feature debut. Scene from “Der Albaner” Scene from Naber’s screenplay, which he wrote with co-authors Christoph Silber and Alexander Stemmle, centers on 19-year-old Albanian Arben who has no work and little future in his Albanian mountain village. His secret sweetheart, Etleva, has become pregnant, but his father is too poor to pay the bride price. Her family threatens

(photo © Neue Schoenhauser Filmproduktion) revenge and so Arben decides to escape to Germany to find work and raise enough money to return home and marry Etleva before the child’s birth. However, once in Germany, he soon realizes that, as an illegal immigrant and without any knowledge of the language, he will Der Albaner hardly have a chance to make the kind of money he dreams of. Alone and full of longing for Etleva, Arben now struggles just to survive … Type of Project Feature Film Cinema Genre Drama, Social Drama Production Company Neue Schoenhauser Film- “We don’t show how Arben comes to Germany because that is produktion/Berlin, in co-production with On Film Production/Tirana something which has already been the subject of many films before- With backing from Medienboard Berlin-Brandenburg, German hand,” Schoenfelder explains. “We are more interested in the fact that Federal Film Fund (DFFF), Albanian National Center of it happens and how things are here in Germany – we want to show Cinematography Producer Boris Schoenfelder Co-Producer what can lead someone to have a reason to enter a country illegally. Dritan Huqi Commissioning Editors Stefanie Gross, Georg There may be material reasons, on the one hand, but then there are Steinert Director Johannes Naber Screenplay Johannes Naber, more complex ones like in this case trying to raise the bride price.” Christoph Silber, Alexander Stemmle Director of Photography Sten Mende Editor Ben von Grafenstein Music by Oli Biehler While two thirds of the film was shot in Berlin last autumn, a third was Production Design Ina Timmerberg Principal Cast Nik filmed in two blocks in the Albanian capital Tirana and the mountain Xhelilaj, Amos Zaharia, Stipe Erceg, Ivan Shvedoff, Eva Loebau, village of Bayam Curri. A truly international cast was put together Xhejlane Terbunja, André Hennicke Casting Uwe Buenker including Croatian-born Stipe Erceg, with whom Naber had made Format Super 16 mm, color, 1:1.85, blow-up to 35 mm, Dolby SR his 2007 short Der Zweifel, Prague-based Russian actor Ivan Shooting Languages German, Albanian Shooting in Berlin, Shvedoff, and German actors André Hennicke and Eva Tirana & Bayam Curri/Albania, September – December 2009 Loebau.

Contact Casting for the Albanian actors was a very time-consuming procedure Neue Schoenhauser Filmproduktion GmbH since the concepts of casting agents, index cards or databases are Neue Schoenhauser Strasse 19 unknown in Albania. “We spent months traveling through Kosovo, 10178 Berlin/Germany Albania and parts of Macedonia and inviting everyone to casting ses- phone +49-30-34 39 10 21 · fax +49-30-52 13 56 49 sions,” Naber recalls. “Finding Nik Xhelilaj [for the lead role of email: [email protected] Arben] was a real stroke of luck – he is an extremely talented actor and I can see him going on to have a glittering international career.” “I began working on the idea for this film eight years ago,” recalls director Johannes Naber who graduated in 1999 from the Baden- “I had input on the screenplay from the Albanian film director Artan Wuerttemberg Film Academy in Ludwigsburg and has worked as a Minarolli and our co-producer Dritan Huqi, but Nik was the one who gaffer on many German feature films and TV movies. helped the most. He developed his own interpretation of the figure of Arben rather than me telling him on the set how he should behave. “I felt that something should be made about the illegal immigrants in Soon we got to the point where it was me asking him how Arben Germany and, above all, show how they experience this land,” he would react to a certain thing!” continues. “We Germans always see ourselves as being liberal and tolerant towards foreigners, but I thought it would be interesting to Meanwhile, the positions behind the camera were filled by many col- take the other perspective and present the Germans with their nation leagues Naber had got to know during his time as a gaffer on other through the eyes of a foreigner who is living here illegally. Even after productions: DoP Sten Mende and production designer Ina the enlargement of the European Union, there are still an estimated Timmerberg had both worked with him on Friederike Jehn’s one million illegal immigrants living here, so this is a fate shared by Weitertanzen, while production manager Dorissa Berninger met many people.” him during the shoot of Aelrun Goette’s Unter dem Eis.

Naber’s choice of a country for his hero to come from fell on Albania MB which was completely unknown territory for him when he made his first visit there in 2001 for field research and to conduct interviews. german films quarterly in production

1 · 2010 28 in Turkey and wants everyone to fly back with him to renovate the house. But the family is not enamored with the idea and a heated debate ensues. Moreover, this is clearly not the time for his grand- daughter Canan to reveal that she is pregnant from an English boyfriend the family has never seen. And, in order to console her six- year-old cousin Cenk who has been bullied on his first day at school Scene from “Almanya” Scene from for being a ‘foreigner’, Canan tries to cheer him up by telling him the fantastic story about why and how they all ended up in Germany, even though they aren’t Germans. They make a journey back in time to a wondrous place where a small Turkish family arrived to discover a land in which blonde giants lived and ate pigs, where big rats were (photo © Roxy Film/Christian Hartmann) (photo © Roxy escorted on dogs’ leashes, where Coca-Cola was the new water, where people gave praise to a little wooden figure on a cross and talk ‘Gibberish’ – a land called Almanya!

Producer Ursula Woerner stresses that the filmmakers are not Almanya wanting to make a film about the fates of the foreign guest workers in the style of worthy social dramas from the heydays of the New Type of Project Feature Film Cinema Genre Comedy, Melo- German Cinema era. drama, Road Movie Production Company Roxy Film/Munich With backing from FilmFernsehFonds Bayern, German Federal “The story of the family’s journey from Turkey to Germany will be Film Board (FFA), German Federal Film Fund (DFFF), BKM told in flashbacks in an amusing and touching way,” she explains. Producers Andreas Richter, Annie Brunner, Ursula Woerner “What we see has a lot to do with German history of the past 40 Director Yasemin Samdereli Screenplay Yasemin Samdereli, years and draws on autobiographical elements from the lives of the Nesrin Samdereli Director of Photography Ngo The Chau two screenwriters. At the same time, the questions posed affect us Editor Andrea Mertens Production Design Alexander Manasse all: what does the concept of ‘home’ really mean, where do we Principal Cast Fahri Yardim, Demet Guel, Vedat Erincin, Lilay belong? After all, we are all foreigners somewhere.” Huser, Denis Moschitto, Petra Schmidt-Schaller, Aykut Kayacik, Siir Eloglu, Ercan Karacayli, Aylin Tezel Casting Emrah Ertem, Kathrin Annie Brunner, third producer of the Roxy-trio points out that Kuentzel-Sedler Format 35 mm, color, cs, Dolby SR Shooting the mixture of the German and Turkish languages will be retained in Languages German, Turkish Shooting in Munich, Augsburg and the film and reveals that the filmmakers have been inspired by Charlie Izmir/Turkey, October – December 2009 Chaplin’s classic comedy The Great Dictator for some of the scenes in the flashbacks to the 1960s where the German dialogues will be in an World Sales invented ‘goobledegook’ to reflect the Turkish guest workers’ feeling Beta Cinema / Dept. of Beta Film GmbH of alienation in a strange country where they don’t understand the Andreas Rothbauer language. Gruenwalder Weg 28 d · 82041 Oberhaching/Germany phone +49-89-67 34 69 80 · fax +49-89-6 73 46 98 88 Writer-director Yasemin Samdereli, who graduated from Munich’s email: [email protected] University of Television & Film and previously made two TV movies www.betacinema.com for the broadcaster ProSieben – Alles Getuerkt and Ich Chefe, Du Nix – and the RTL sitcom pilot Zivis, can draw on an experienced crew It was thanks to the regional film fund FFF Bayern that Munich-based for her feature debut. They include production designer Alexander production house Roxy Film first came to know about the project Manasse whose past credits range from Run Lola, Run through Gate Almanya by Yasemin Samdereli and her sister and co-author to Heaven to Adam Resurrected. Manasse naturally had his work cut Nesrin Samdereli. out to recreate the look of the 1960s in today’s Munich, but had the good fortune to find a suburb where the buildings look much like they “We were so impressed by the script that we decided to meet with did over 40 years ago when grandfather Huseyin arrived in Germany Yasemin and Nesrin and then started working on the development,” as a guest worker. producer Andreas Richter recalls. In addition, it was particularly appropriate that Vietnamese-born cine- After an initial attempt to put the financing together did not succeed, matographer Ngo The Chau – who recently worked with the project was put on the back burner at Roxy. “However, we real- Frisbeefilms on Ludwig & Glaser’s 66/67 and Maximilian Erlenwein’s ly felt that this story should be told and began looking for new part- Gravity – was chosen to lense the film since he could bring his personal ners again to close the financing,” he continues. experiences of growing up in Germany and a special empathy to the project. In the end, Roxy succeeded in attracting distributor Concorde Filmverleih and its parent company TeleMuenchen as partners along Principal photography on the film was completed in mid-December with Beta Film as sales agent, with funding from FFF Bayern, the with half of the shoot in Germany and the other half in and around German Federal Film Board (FFA), the German Federal Film Fund Izmir plus a second unit traveling to Istanbul. (DFFF) and the State Minister for Culture (BKM). MB The comedy-melodrama centers on the announcement by Huseyin Yilmaz after living for 45 years in Germany that he has bought a house german films quarterly in production

1 · 2010 29 tinues, adding that one of the protagonists – eight-year-old Maksut – had to be replaced after he and his family suddenly disappeared at the end of 2007 on the night before they were supposed to be sent back to Kosovo.

“We were working with a digital camera and the children soon forgot that the camera was there,” Wenders recalls, pointing out that it was

(photo © Donata Wenders) her first time working with children and describing it as “a fantastic experience.” Scene from “Du gehoerst zu uns” Scene from

“I was immediately attracted to Hella’s project because I like emo- tionally exciting subjects,” says the film’s producer and dffb graduate Christoph Heller whose most recent production credits include Eva Stotz’s Sollbruchstelle and his own documentary Mein Vater. Mein Onkel.

Du gehoerst zu uns As with these two films and Sebastian Heidinger’s award-winning Drifter, Du gehoerst zu uns is one of the student film projects Type of Project Documentary Cinema Genre Society Pro- realized as part of documentary filmmaker Andres Veiel’s masterclass duction Company dffb/Berlin Producer Christoph Heller at the dffb. “There are nine of us working on films and we meet every Director Hella Wenders Director of Photography Merle couple of months to talk about our projects with Andres, who is so Jothe Editor Verena Neumann Format HDV, color, 1:1.85, Dolby supportive,” Wenders explains. Shooting Language German Shooting in Muenster, June 2007 – September 2009 2010 will be spent working on the editing of the film for a festival premiere sometime in 2011, but Wenders had already sat together with Contact her editor Verena Neumann to prepare a preliminary edit of the Deutsche Film- und Fernsehakademie Berlin GmbH material during the shoot over the past two years. Jana Wolff Potsdamer Strasse 2 · 10785 Berlin/Germany Moreover, she has approached some of her fellow students to pro- phone +49-30-25 75 91 52 · fax +49-30-25 75 91 62 duce some short animated scenes to be interspersed between the email: [email protected] · www.dffb.de footage of the children at school, at home and in their free time.

German Film & Television Academy-student Hella Wenders is MB currently in post-production on her first longer documentary Du gehoerst zu uns which follows the progress of a group of pupils at an inclusive school in a Muenster suburb over two years up to the autumn half-term holidays in 2009.

Situated in the social flashpoint of Berg Fidel, the primary school is attended by 200 children from 30 different nations. 60% of them come from other countries. Approximately 20% have an official hand- icapped status, and 40% of the families are receiving social security.

“There are quite a lot of these inclusive schools in Berlin, but fewer in North Rhine-Westphalia,” Wenders explains. “In fact, Berg Fidel is

the only one in Muenster which is consistent in its approach to in- (photo © Collina Film/Rolf Heydt) v.d. Scene from “Das Ende ist mein Anfang”Scene from clusive education because many schools say they work to integrate pupils, but usually just open up a class for some special cases. These children are still the exceptions. At the Berg Fidel school, they are all equal from the outset – even though that is not an easy task for the headmaster and the teachers. I hope that this film might help people’s understanding of what it means to have complete inclusion in class- Das Ende ist mein Anfang rooms.” Type of Project Feature Film Cinema Genre Drama Thanks to an introduction from her mother Barbara Wenders who is Production Company Collina Filmproduktion/Munich, in co- a special education teacher at the school, Wenders received permis- production with B.A. Produktion/Munich, BR/Munich, SWR/ sion from the headmaster to shoot at the school and was able to then Stuttgart, Degeto Film/Frankfurt, ARTE/Strasbourg With backing spend time with the classes for initial research to identify the pro- from FilmFernsehFonds Bayern, German Federal Film Fund (DFFF) tagonists the film would later portray. Producer Ulrich Limmer Director Jo Baier Screenplay Folco Terzani and Ulrich Limmer Director of Photography Judith “I made my decision on who to take by whether they could speak in Kaufmann Editor Claus Wehlisch Production Design Eckart front of the camera and who had their own personality,” she con- Friz Principal Cast Bruno Ganz, Elio Germano, Erika Pluhar,

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1 · 2010 30 Andrea Osvart, Gianni Cavina Format 35 mm, color, cs, Dolby SRD Shooting Languages German, Italian Shooting in Northern Tuscany, Italy, September – October 2009

World Sales Beta Cinema / Dept. of Beta Film GmbH Andreas Rothbauer Gruenwalder Weg 28 d · 82041 Oberhaching/Germany phone +49-89-67 34 69 80 · fax +49-89-6 73 46 98 88 email: [email protected] Scene from “Gestern Scene from ist nirgendwo” www.betacinema.com

The phrase ‘star vehicle’ has become an often rightly derided one, (photo © Schiwago Film/novapool pictures) usually denoting a foisted-on-audiences appearance by whichever rapper, singer, star or starlet Hollywood is keen to push (actual talent optional!). But it can also denote a film that is, quite simply, tailor- made for a lead of such talent and depth that it becomes impossible Gestern ist nirgendwo to imagine some other actor in the role. In such rare cases, the result is the cinematic experience discerning audiences can bask in. Das Type of Project Feature Film Cinema Genre Coming-of Age- Ende ist mein Anfang (“The End is My Beginning”) falls in the Story, History, Drama Production Company Schiwago sweet spot of this latter. Film/Berlin With backing from BKM, Mitteldeutsche Medien- foerderung, Medienboard Berlin-Brandenburg, German Federal Film Anyone familiar with Bruno Ganz knows he takes acting from Fund (DFFF), SWR Producers Martin Lehwald, Marcos Kantis, the realms of a craft into an art form. His performance as evil Nazi Michal Pokorny Director Elke Hauck Screenplay Peggy Lehmann dictator Adolf Hitler in Der Untergang is a tour de force, by any and Director of Photography Michael Kotschi Editor Stefan every standard. Here, in Das Ende ist mein Anfang, he plays Stabenow Production Design Angelica Boehm Principal Cast the terminally ill Italian journalist Tiziano Terzani, a former Asia Florian Panzner, Anne Kanis, Guntbert Warns Casting Antje correspondent for Der Spiegel magazine, in conversation with his son Missbach Format HD, color Shooting Language German Folco. Shooting in Gera and Ruegen, October – December 2009

Terzani has withdrawn to a breathtakingly beautiful, small mountain Contact village north west of Florence, where he has invited his son to hear Schiwago Film GmbH the story of his life. For three months Tiziano and Folco will converse Gneisenaustrasse 66 · 10961 Berlin/Germany every day, during which the older man reflects on his life, society, phone +49-30-6 95 39 80 · fax +49-30-6 95 39 850 today’s times, youth and the world. The conversations range freely on email: [email protected] · www.schiwagofilm.de subjects such as daring to risk freedom, courage, love, illness and mourning, the fleeting moments of beauty and, as the film’s title “We were looking for someone who had the background of growing embodies, how to take one’s farewell. up in the GDR and was around the same age,” says producer Martin Lehwald about his company’s search for a director for the Although death is omnipresent, and thus a central feature of the film, drama Gestern ist nirgendwo (working title: “Yesterday is Das Ende ist mein Anfang possesses an impressive lightness. Nowhere”). “Tiziano does not bemoan his fate,” director Jo Baier explains. “He welcomes death as a friend, the one new thing that can still happen to “When we saw Elke Hauck’s debut film Karger and her short films, him. We experience his passing without tearful sentimentality, but this convinced us that she would be the right person,” he notes. instead with great clarity, dignity and humanity.” Born in Riesa in Saxony in 1967, Hauck had worked for several years “Das Ende ist mein Anfang is about the question of how one as an editor and AD on various productions before studying Directing can lead a fulfilled life,” Ulrich Limmer, co-writer and producer, at the dffb in Berlin. Her feature debut Karger was nominated for the continues. “It allows the audience to experience the path to death in German Screenplay Prize and won the Saarland Prime Minister’s such a way as Terzani does. We see a family that is not built on con- Award at the Max Ophuels Festival in Saarbruecken in 2007. flict and confrontation but has found a way to accept one another and to live with a man and father who has always cast a large shadow.” The screenplay by HFF Babelsberg graduate Peggy Lehmann centers on a thirtysomething architect living and working in Frankfurt The anecdotal tales from Terzani’s life feature, but are not the film’s who is sent by his boss to Thuringia to his home town to oversee a hook. It is his life experience that leads viewers to being permitted to conversion project for the housing estate he had originally designed. watch a great figure go without complaint to death. Narrated in a clear and unsentimental manner, Das Ende ist mein Anfang “Against his will, he has to deal with his past and the ghosts of the invokes the greatest emotions and demonstrates that the end is also past, including meeting his childhood sweetheart again after all these the beginning. years,” Lehwald explains. “Little by little, he realizes that he must accept some responsibility for the suicide of his best friend. 20 years SK have passed and he hadn’t been able to summon up the strength to

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1 · 2010 31 address this or to visit his best friend’s sister, his former love. The two The idea for Eva Stotz’s latest film Hausgaeste (working title: boys had taken different paths in their development: one had always “Houseguests”) came to her three years ago when she tried out one been against the system, the other had always tried to find a way to of the international host networks which allow people to travel to live within the system, even if he did have other ideas of how things foreign lands and stay as houseguests for free. should be. And so they came to drift apart.” “I couch surfed at someone’s place in Istanbul and then got to know Once back in his home town, the architect Alexander uses his friend his friends and family,” Stotz recalls. “I could see straightaway that Micha’s diary and his own recurring memories to trace the reasons when you stay somewhere privately, there isn’t that touristic distance. leading to the suicide. Who or what could have been the cause? This changed my relationship to travel and people and my view of the world. It was then that I thought of making a film about this ex- “I think it’s really interesting to look back at recent German history perience and phenomenon.” because it is a past that is unknown to many young people today,” Lehwald adds. “The film will show the mores, longings and fears of She pitched the project at the annual presentation by students of the those times in the former GDR. Moreover, Elke has brought a lot of German Film & Television Academy (dffb) to commissioning editors her own biography into the original screenplay.” and producers and attracted the attention of Katharina Dufner of Das kleine Fernsehspiel and Annedore von Donop and Florian Panzner, who studied at the HFF Babelsberg and made his Karsten Aurich of Berlin-based Sabotage Films. screen acting debut in Andreas Kleinert’s Paths in the Night (Wege in die Nacht) in 1999, was cast as Alexander, with the ’new face’ Anne “We were immediately impressed by Eva and the film’s subject,” von Kanis as his childhood sweetheart Nicole, and Guntbert Warns Donop observes. “We at Sabotage Films are always looking for sub- as Lange, the former local secretary of the Communist youth orga- ject matter that is exciting and fun, but also has a political dimension.” nization FDJ. The film was structured as a co-production with Das kleine MB Fernsehspiel and dffb and there was backing from Medienboard Berlin-Brandenburg, but von Donop did not embark on attracting any international financing even though the subject matter might have seemed ideal for such a strategy.

“This would have destroyed the kind of film we are wanting to make here,” she says. “On one of my previous productions, Rivers & Tides by Thomas Riedelsheimer, we worked for a year on getting the international financing together before we started shooting. This wasn’t possible here because we also wanted to film how the project came

Sabotage Films GmbH, Berlin) about. So we have worked on a shoestring budget, but there is international potential since the film in shot completely in English.”

Stotz recalls that she spent many hours in front of a computer screen reading the profiles of different people registered on the host networks. “I then sent questionnaires to the people who interested Editor Vincent Schmitt & director Eva Stotz with Editor Vincent Schmitt & director

Toni in San Francisco (photo © Konstantin Kirilow/ in San Francisco (photo © Konstantin Toni me and also decided on specific countries and regions I wanted to feature,” she explains.

Hausgaeste The result was her final choice of hosts from five different continents: a Tuareg nomad music enthusiast in Africa’s Mali, an environmental Type of Project Documentary Cinema Genre Action/ activist in Tokyo, an ecologist on the Palestinian West Bank, a pas- Adventure, Road Movie Production Company Sabotage Films/ sionate dancer in Turkey, and a visionary in the United States. Berlin, in co-production with dffb/Berlin, ZDF Das kleine Fernseh- spiel/Mainz With backing from Medienboard Berlin-Branden- Apart from discovering breathtaking landscapes and learning about burg Producers Annedore von Donop, Karsten Aurich Com- these people’s lives, the film will also pose bigger questions, as the missioning Editor Katharina Dufner Director Eva Stotz producers point out: “What kind of possibilities does life have to offer Screenplay Eva Stotz Director of Photography Eva Stotz when someone is ready to open up? Do humans, aside from all the Editor Vincent Schmitt Format HD, color, 16:9, blow-up to Digital difficulties, also have a chance through globalization? In all this, can Cinema, Dolby Digital Shooting Language English Shooting in new media be used in a meaningful way? How different does the USA, Japan, Mali, Turkey, Israel/Palestine, Germany, August 2009 – world look when we are not concentrating on all our differences but June 2010 accept all the gifts of similarities instead? What kind of leeway does the individual have in its own small world? What is really important?” Contact Sabotage Films GmbH · Karsten Aurich By October, Stotz had already been a guest at her protagonists’ Kastanienallee 56 · 10119 Berlin/Germany homes in Japan and the USA and was then preparing to travel to phone +49-30-44 03 08 90 · fax +49-30-44 03 08 99 Mali before Christmas, with Turkey and Palestine to follow in early email: [email protected] 2010. www.sabotage-films.de

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1 · 2010 32 While post-production on what will be her dffb graduation film is set tones. The film is calm, situational, has little dialogue. It is under-cool- to take until the end of 2010, those interested in this project and the ed rather than warm-hearted.” whole phenomenon of host networks can follow the film’s progress on the online blog at http://blog.evastotz.com/. Heimweh, which German-speakers will recognize as the word for homesickness, is the fourth collaboration between Kannengiesser and MB cameraman Stephan Fallucchi.

Previously the pair worked on Planet Carlos, a feature length docu- drama set in Nicaragua (where Kannengiesser and his young family lived for eight months), which had its world premiere at the Hamburg International Film Festival 2008, was selected for the Official Section and had its international premiere at the 2008 Tokyo International Film Festival and played most recently at the Romero Filmtage 2009, again in Hamburg. Planet Carlos also won the Second Audience Award Scene from ”Heimweh” Scene from in Bergamo 2009.

Producer established her company, (photo © Anna Magdalena Wolf) Anna Wendt Anna Wendt Filmproduktion, in 2006, specializing in feature films as well as documentaries. Via the Medienboard Berlin-Brandenburg, she has produced the feature film Must Love Death (working title: The Less Alive), short films for cinema and television, internet virals and television commercials. She is equally at home working and developing projects with film school students and graduates as well as already Heimweh established individuals. SK Type of Project Feature Film Cinema Genre Melodrama Production Company Anna Wendt Filmproduktion/Berlin, in co-production with the Hochschule fuer Film und Fernsehen “Konrad Wolf ”/Potsdam-Babelsberg With backing from Medienboard Berlin-Brandenburg, Landesfoerderinstitut Mecklenburg-Vor- pommern Producer Anna Wendt Director Andreas Kannengiesser Screenplay Nico Woche Director of Photog- raphy Stephan Fallucchi Editor Mirja Gerle Music by Martin Spange Production Design Adán Hernández Salazar, Barbara Falkner Principal Cast Renate Kroessner, Dieter Mann, Hermann Beyer, Eugen Kroessner, Nadine Pasta Casting Suse Marquardt Besetzungsbuero/Berlin Format S-16 mm, blow-up to 35 mm, color, cs, Dolby SR Shooting Language German Shooting in

Berlin, Ruegen, September – October 2009 (photo Proksch © Jan Alfred Tenhaven)

Contact Anna Wendt Filmproduktion · Anna Wendt Budapesterstrasse 40 · 10787 Berlin/Germany phone +49-30-25 43 24 20 · fax +49-30-25 43 21 01 email: [email protected] Herbstgold – Wettlauf www.annawendtfilm.de gegen die Zeit “I’m going for a short swim, then I’ll make breakfast …” Type of Project Documentary Cinema Genre Drama, Sports, Hannelore (65) has been taking care of her husband Klaus (69), who Society Production Company Gebrueder Beetz Film- suffers from dementia, for many years. It’s a burden of care that is produktion/Berlin, in co-production with Navigator Film/Vienna now threatening to overwhelm her. When their neighbor Guenther With backing from Filmstiftung NRW, Medienboard Berlin- (65) suddenly goes on a trip, Hannelore decides to follow him – leav- Brandenburg, Oesterreichisches Filminstitut Producers Christian ing her husband alone at home. Guenther has just lost his partner to Beetz, Johannes Rosenberger Director Jan Tenhaven Screenplay cancer and is off to his holiday cottage on the coast, where he plans Jan Tenhaven Director of Photography Marcus Winterbauer to take his own life. Editor Juergen Winkelblech Music by Andy Baum Format XDCAM HD, blow-up to 35 mm, color, 1:1.85, Dolby Digital “More than two million people in Germany need full-time care,” says Shooting Languages German, English, Italian, Czech Shooting director Andreas Kannengiesser, “and the majority are looked in Kiel, Foehr, Brescia, Vienna, Stockholm, Hradec Kralove, Lahti, after at home. Nico Woche’s script takes this difficult subject and June – August 2009 narrates the story of Hannelore’s escape with a great many different

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1 · 2010 33 Contact Gebrueder Beetz Filmproduktion Koeln GmbH & Co. KG · Kathrin Isberner Heinrich-Roller-Strasse 15 · 10405 Berlin/Germany phone +49-30-69 56 69 10 · fax +49-30-69 56 69 15 email: [email protected] www.gebrueder-beetz.de

Herbstgold – Wettlauf gegen die Zeit (WT: “Harvest Gold – Fighting Time and Age”) tells the life-affirming stories of five senior athletes across the world who all have one goal – to take part in the (photo © GFF/Alexander Fischerkoesen) track and field section of the World Masters Championships 2009 in On the set of habt ihr Angst” “In der Welt Finland. The biggest challenge they face is their age: all five athletes are between 82 and 100-years-old.

“These five individuals are in a defiant race against time,” says Herbstgold’s writer-director Jan Tenhaven, “and throw a very In der Welt habt ‘YES-to-life’ light on growing old in various countries. How do these senior citizens deal with everyday life? Alone or with a partner? What ihr Angst roles do love and sexuality play? What does society think of them? Why is sport so important to them? How do they deal with their Type of Project Feature Film Cinema Genre Drama bodies becoming increasingly frail and their performance worse? Production Company Geissendoerfer Film- und Fernseh- produktion/Cologne With backing from German Federal Film “These,” Tenhaven continues, “are the questions the film poses and, Fund (DFFF) Producer Hans W. Geissendoerfer Director Hans hopefully, answers. This is a story about losers and winners, of set- W. Geissendoerfer Screenplay Hans W. Geissendoerfer backs and small triumphs. Herbstgold is a film about life and maybe Director of Photography Alexander Fischerkoesen Editor about death. Who will mount the podium at the end? Who will make Oliver Grothoff Production Design Frank Polosek Principal a dignified withdrawal? Who will fight bitterly to the end – in the con- Cast Anna Maria Muehe, Max von Thun, Axel Prahl, Hanns Zischler, test of life?” Kirsten Block, Johannes Allmayer Casting Horst D. Scheel Format 35 mm, color, cs, Dolby 5.1. Shooting Language German Jan Tenhaven and Gebrueder Beetz Filmproduktion Shooting in Bamberg and surroundings, November – December developed Herbstgold over a period of two years, marking his first 2009 feature length documentary for theatrical release. Tenhaven himself is a freelance writer and director for German public television and also Contact a lecturer at the Electronic Media School in Potsdam-Babelsberg. Geissendoerfer Film- und Fernsehproduktion KG Wolfram Lotze From 1998 to 2001, Tenhaven was a television correspondent and Freimersdorfer Weg 6 · 50829 Cologne/Germany bureau chief of APM Media in London and a director for London phone +49-2 21-2 20 59 18 · fax +49-2 21-2 20 51 52 International Television (LITV). Before that he worked as a reporter email: [email protected] and on the editorial staff of various German broadcasters. He started www.geissendoerfer-film.de his journalistic career as a freelance writer for the daily newspaper WAZ and the weekly paper DIE ZEIT. Forty years after making his directorial debut in 1969 with Der Fall Lena Christ and several other films, Hans W. Geissendoerfer Jan Tenhaven’s many filming and research trips have given him exten- was back in the director’s chair for his latest feature In der Welt sive international experience, such as in Singapore and the USA, and habt ihr Angst which wrapped shooting in Bamberg at the be- he was also an official participant in the Discovery Campus ginning of December. Masterschool 2007 (now known as the Documentary Campus). Geissendoerfer began working on a script about “a great, but fatal SK love” and initially wanted to cast Ulrich Muehe and his daughter in the leads, but this particular constellation had to be abandoned when Ulrich Muehe sadly died in 2007.

Anna Maria Muehe stayed with the project and was cast as the music student Eva who falls madly in love with the musician Jo (played by Max von Thun). They are passionate about one another and discover that they can communicate with each other over long distances with any kind of aid. Their love is so great that Eva is even prepared to follow her boyfriend into heroin addiction. But when she becomes pregnant, they both decide that it is time to undergo a course of treatment in the isolation of far-away New Zealand.

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1 · 2010 34 However, Eva’s father, the conservative cantor Johannes (portrayed by veteran actor Hanns Zischler) refuses to give them any financial support and breaks off all contact. In their desperation, Eva and Jo decide spontaneously to rob a shop. But this attempt to get hold of some easy money backfires. In a panic, Eva kills the shop owner and Jo is arrested by the police. Eva, though, manages to escape with the

shop owner’s gun and wanders through the streets of Bamberg. By (photo © Nik Konietzny) coincidence, she gains access to the apartment of a married couple (Axel Prahl and Kirsten Block) on the verge of a break-up and brings them under her control – with surprising results … On the set of “Das Leben ist zu lang” In der Welt habt ihr Angst is “the story of an extraordinary love, but also the story of two people who try to integrate themselves into our society, yet founder on the organizing principles of the bourgeois world,” Geissendoerfer explains. “Nobody, however, can take their love from them. The film speaks about love in many forms. It is also about the love between a father and a daughter and the spent Das Leben ist zu lang love of an older married couple.” Type of Project Feature Film Cinema Genre Comedy The € 2 million project was shot in November and December 2009 Production Company X Filme Creative Pool/Berlin, in co-pro- in and around the historical town of Bamberg which is situated north duction with Warner Bros. Film Productions Germany/Hamburg of Nuremberg. With backing from Medienboard Berlin-Brandenburg, German Federal Film Board (FFA), German Federal Film Fund (DFFF), Although this may be Geissendoerfer’s first feature film as a director FilmFernsehFonds Bayern Producer Manuela Stehr Director Dani since Snowland in 2005, he has been far from idle in the intervening Levy Screenplay Dani Levy Director of Photography Carl- period with his production company GFF Geissendoerfer Film- und Friedrich Koschnick Editor Elena Bromund Music by Niki Reiser Fernsehproduktion. Production Design Christian Eisele Principal Cast Markus Hering, Meret Becker, Veronica Ferres, Hans Hollmann, Udo Kier, In the past four years, GFF was involved in such diverse projects as Elke Sommer, Yvonne Catterfeld, Heino Ferch, Steffen Groth, Justus Bijan Benjamin’s Zelle, Andre Erkau’s Come In and Burn Out von Dohnányi, Kurt Kroemer, Gottfried John Casting Simone Baer (Selbstgespraeche), Dana Linkiewicz’s documentary Anne Perry – Format 35 mm, color, 1:1.85, Dolby SR-D Shooting Language Interiors, and Ben Hopkins’ award-winning Pazar – The Market which German Shooting in Berlin and surroundings, Italy, September – continues a collaboration begun in 2000 with The Nine Lives of Tomas October 2009 Katz. Contact MB X Filme Creative Pool GmbH · Kristina Stelter Kurfuerstenstrasse 57 · 10785 Berlin/Germany phone +49-30-26 93 36 00 · fax +49-30-26 93 37 00 email: [email protected] www.x-filme.de

Last autumn saw director Dani Levy gathering a veritable who’s who of German acting talent before the camera for his latest feature Das Leben ist zu lang (“Life is Too Long”) – from Veronica Ferres and Meret Becker through Udo Kier and Gottfried John to Elke Sommer and Justus von Dohnányi.

The tragicomic story about appearance and reality and the quest for a harmonious family life follows Levy’s successful comedies Go for Zucker! An Unorthodox Comedy and My Fuehrer – The Truly Truest Truth About Adolf Hitler.

At the center of this new film is the crisis-ridden Jewish film director Alfi Seliger who, after making a very successful film, is then driven along through the chaos of his life as an artist, father and son of an eccentric mother. His escalating disaster within the German film scene reaches its pinnacle with a theatrical and clueless attempt at suicide. Alfi survives – but he awakes in what only appears to be his old life …

Speaking about the autobiographical dimension to his new film, Levy points out that “I decided to make personal films right from my very

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1 · 2010 35 first films. Films in which I shone through and am discernible as the maker. Films that other directors could just as well have made because they don’t have a specific position is something I’ve never been able to do.”

“Das Leben ist zu lang will perhaps be my most personal film,” he continues, noting that he looks “with admiration at colleagues like Nanni Moretti, Woody Allen, Fellini or Cassavetes and try to pluck up Voges Entertainment GmbH) Voges some of their courage to be honest and fearless.” Scene from “Der letzte Angestellte” Scene from

“We wanted to make a film like Go For Zucker! that would again be (photo © Stephan Rumpf/Hofmann & fresh and jolly,” producer Manuela Stehr recalls. “In many re- spects, it is indeed like Zucker with many actors and a great crew, but the project took on veritable quantum jumps during the production. It outgrew the original plan and it’s quite an achievement that Dani managed all of this in 24 shooting days. We didn’t just have several locations – including interiors at Babelsberg’s Park Studios – but also Der letzte Angestellte had a week of shooting in Italy at San Remo.” Type of Project Feature Film Cinema Genre Ghost Story, “One of the biggest challenges was to find the lead actor for the role Horror Production Company Hofmann & Voges Enter- of Alfi,” she adds. “We could see that it had to be a very special kind tainment/Munich, in co-production with ZDF/Mainz, ARTE/Stras- of person. On the one hand, there was his crankiness, but he also had bourg With backing from FilmFernsehFonds Bayern, German to show this humor, warmth and loving. The actor had to be credible Federal Film Fund (DFFF), MEDIA Producers Philip Voges, Alban in portraying a director in the middle of a breakdown.” Rehnitz Director Alexander Adolph Screenplay Alexander Adolph Director of Photography Jutta Pohlmann Editor Stehr was then visiting the Munich Filmfest at the end of June when Christel Suckow Music by Dieter Schleip Production Design she attended the world premiere there of Andreas Dresen’s Whisky Jana Karen Principal Cast Christian Berkel, Jule Ronstedt, Bibiana with Vodka, with Markus Hering from Vienna’s Burgtheater Beglau Casting Hanna Hansen Casting Format RED one (4k), appearing opposite Henry Huebchen and Corinna Harfouch. transfer to 35 mm, color, cs, Dolby SR Shooting Language German Shooting in Munich, October – November 2009 “I told Dani that he should see the film and [distributor] Senator Film kindly organized a screening,” she says. “It was then completely clear Contact for us all. It was as if Dani had written the role for Markus without Hofmann & Voges Entertainment GmbH knowing him beforehand!” Rotraud Grabmeyer Hofmannstrasse 27 · 81379 Munich/Germany Das Leben ist zu lang also marks the first project from X Filme phone +49-89-17 87 73 01 · fax +49-89-17 87 74 10 Creative Pool to be co-produced by Warner Bros.. X Verleih will email: [email protected] handle the theatrical release in Germany later in 2010. www.hofmannvoges.com

MB You can’t beat a good ghost story for raising those goose bumps and sending delicious chills down the spine, and Hofmann & Voges have come up with a doozy!

Der letzte Angestellte (“The Last Employee”) tells the story of David (Christian Berkel), a lawyer who has taken a job after a long period of unemployment. Except he is having a crisis of con- science. He is supposed to liquidate a company and fire everyone. And he does – for the sake of his wife Irina (Jule Ronstedt) and son Simon. His scruples appear justified: a young woman (Bibiana Beglau) collapses after he lays her off. He drives her home, tries to comfort her – BIG MISTAKE! She becomes aggressive. That same night she calls and threatens him. From now on she appears every day in the empty office or terrorizes him on the telephone. She seems to be everywhere. When she appears in his private life he drives, en- raged, to her house – only to find her corpse! David’s life now spins out of control. He feels her ghost wants revenge on him and his family. He begins to fear the lifeless office. Every shadow, every sound, every door that opens increases his fear. David was once in psychi- atric treatment, suffering from acute panic attacks. It’s no wonder his wife believes David’s ghostly visions to be a relapse. Is she right? Is he the victim of his own fears? Or is he really being haunted by a venge- ful ghost?

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1 · 2010 36 As genre film lovers know, there are ghost films and ghost films. So Monteys Director of Photography Eeva Fleig Editor Dagmar what kind of ghost film is this? “Der letzte Angestellte is in the Lichius Production Design K.D. Gruber Principal Cast tradition of The Shining or Rosemary’s Baby,” its producer Philip Robert Stadlober, Jessica Schwarz, Martin Feifel, Anna Schudt, Mark Voges replies. “It’s also up there with those masterpieces of Waschke Casting Tina Boeckenhauer Format 2k, cs, Dolby Japanese ghost films, Dark Water and The Grudge.” Oh yes! Be afraid! Digital Shooting Language German Shooting in Baden- Be very afraid! Wuerttemberg, Berlin, Brandenburg, September – October 2009

Der letzte Angestellte’s writer and director is Alexander Contact Adolph who, coincidentally, studied Law at Munich’s Ludwig- ophir film GmbH film- und fernsehproduktion Maximillian-University but found writing radio plays more fun and Lehrter Strasse 16-17 · 10557 Berlin/Germany rewarding. In 1997 he won the U.R.T.I. (Grand Prix de la Radio). phone +49-30-39 80 29 20 · fax +49-30-39 80 29 25 email: [email protected] · www.ophirfilm.com Moving into moving pictures, Adolph’s first script was a Tatort episode, which garnered him an Adolf Grimme Award in 2002. He Last autumn saw Berlin-born filmmaker Nick Baker-Monteys picked up a second one for the first episode of the ZDF series Unter make his debut feature with Der Mann der ueber Autos Verdacht, which he also developed. The second episode won him, sprang with a cast including Robert Stadlober, Jessica 2003, the German Television Award and Juliane Bartel Award. The Schwarz, Martin Feifel and Anna Schudt. same year he had to make more space on the shelf for the Author’s Award of the Cologne Conference. His script for the film Kleine “I had quite a lot of experience writing scripts for other people, but it Schwester won the 2004 VFF TV-Movie Award and was nominated for was still a huge jump for me as a director from making the 25-minute the Grimme Award 2005. His documentary Die Hochstapler, in which short The Perfect Moment to a feature film now,” Baker-Monteys four convicted fraudsters speak about their misdeeds, played at festi- explains. vals, including Amsterdam, London and Munich. In 2008 he received another Grimme Award nomination for a new Tatort episode and in “A man walks from Berlin to Swabia – with the firm conviction that he 2009 he directed, from his own script, the feature film So gluecklich will produce an energy through this hike that can heal a critically ill war ich noch nie, with Nadja Uhl and Joerg Schuettauf. person. That initially sounds too mad to be true,” producers Andreas Born of ophir film and Gloria Burkert of As the phenomenal success of The Blair Witch Project and Paranormal BurkertBareiss Development say. “Yet, the longer one Activity shows, the audience for scary movies is huge. So dim the accompanies Julian on his journey, the more plausible his idea be- lights, close the curtains, snuggle up close and get ready to jump! comes, the more probable the success of his mission appears to us. And we realize that this walk is about much more: about making SK amends, penance and self-healing. [Nick] makes us believe that the power of the spirit can move mountains.”

According to Baker-Monteys, the film’s story is inspired in part by the works of the maverick filmmaker Werner Herzog and the writer Bruce Chatwin. “They both believe in the power of walking,” he observes. “Chatwin wrote about this in Songlines, and Herzog believed that the film historian Lotte Eisner would recover from her illness if he walked from Munich to Paris, as recorded in his book Gehen im Eis.” (photo © Volker Roloff)(photo © Volker Another influence on his work comes from the US director Terence Mallick who, “in a very naturalistic way, makes beautiful films in nature,” Baker-Monteys says. “Like in my short film, my feature has people in a big landscape and points up the connection between man and nature. That has always interested me.”

Scene from “Der Mann der ueber Autos sprang” Scene from “Robert Stadlober immediately recognized the special nature of the story and accepted to play the lead role of Julian,” the producers recall. “And Jessica Schwarz was also convinced by the power of the Der Mann der ueber screenplay and didn’t shy away from the demands of this production. Finally, we were able to persuade Martin Feifel as the unkempt cop Jan Autos sprang and Anna Schudt as Ruth to set off on this exhausting hike.”

Type of Project Feature Film Cinema Genre Road Movie Baker-Monteys points out that the financing for the film was helped Production Companies ophir film/Berlin, BurkertBareiss by the fact that broadcaster SWR and the regional funder Development/Munich With backing from Medienboard Berlin- Medienboard Berlin-Brandenburg had backed his short The Perfect Brandenburg, MFG Baden-Wuerttemberg, German Federal Film Fund Moment and adds that he is “wanting to make a film with a visual (DFFF) Producers Andreas Born, Gloria Burkert, Sigi Kamml power that runs along a knife’s edge alternating between quiet, gentle Commissioning Editors Brigitte Dithard, Andreas Schreit- passages and ones full of suspense.” mueller Director Nick Baker-Monteys Screenplay Nick Baker-

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1 · 2010 37 He is full of praise for his director of photography Eeva Fleig who most expensive production in the 40-year history of the Tele had lensed Martin Gypkens’ Nothing But Ghosts (Nichts als Muenchen Group. Also signed on for this voyage to hell are Gillian Gespenster): “You could fall into the trap with this film of becoming Anderson, Billy Boyd and Donald Sutherland. And to keep too pretentious, but Eeva keeps it just beautiful and simple.” the whole thing as authentic as possible, filming took place in original locations, such as the UNESCO World Heritage Site of Around half of the 26-day shoot was spent in Baden-Wuerttemberg Lunenburg/Nova Scotia. in the Beuron Valley in Upper Swabia before the team moved back up to Berlin and Brandenburg for the rest of the filming. Continuing the uber-successful production partnership with Rikolt von Gagern and his company, GATE Film, Moby Dick also MB sees the return of director Mike Barker and scriptwriter Nigel Williams, who wrote the screenplay of the Emmy® and Golden Globe Award-nominated TV series Elizabeth I. Previously the duo were aboard the last TMG/GATE Film production, a new version of Jack London’s The Sea Wolf.

“We have outstanding talents before and behind the camera giving their very best: that’s what this world famous novel deserves,” says Rikolt von Gagern. “Creating a thrilling new version that appeals to a modern audience is an adventure in itself and a project I always wanted to realize. This is what we’re doing now, not least thanks to Tele Cast and Crew of “Moby Dick” (photo © TMG/Chris Reardon) Muenchen and Dr. Kloiber, who is one of the very few people in this business who can bankroll a budget of this dimension.”

And this just in from the man who has made it all happen: “I am delighted to have signed up two such powerful, charismatic and ver- satile actors as William Hurt and Ethan Hawke,” says producer and TMG founder and owner Dr. Herbert Kloiber. “With Mike Barker we have a director who stunningly confirmed his seaworthiness in our Moby Dick production of The Sea Wolf, and who is able to transpose the entire narrative power of the story to the screen. Through his directing and Type of Project Mini-Series Genre Action/Adventure, Drama, Nigel Williams’ script we are laying a solid foundation for a TV event Literature Production Company Tele Muenchen/Munich With that will captivate viewers all over the world.” backing from FilmFernsehFonds Bayern Producers Herbert Kloiber, Rikolt von Gagern Director Mike Barker Screenplay SK Nigel Williams Director of Photography Richard Greatrex Editor Dean Soltys Music by Richard G. Mitchell Production Design Rob Grey Principal Cast William Hurt, Ethan Hawke, Charlie Cox, Gillian Anderson, Eddie Marsan, Billy Boyd, Donald Sutherland Casting Jeremy Zimmerman Format 35 mm, color, 1:1.78, Dolby SR Shooting Language English Shooting in Lunenburg/Nova Scotia, Malta, September 2009 – January 2010

World Sales TMG International · Carlos Hertel Kaufingerstrasse 24 · 80331 Munich/Germany phone +49-89-29 09 30 · fax +49-89-29 09 31 09 email: [email protected] · www.tmg.de

There she blows again! Moby Dick, Melville’s timeless classic about the most merciless campaign of revenge in seafaring history sails onto TV screens with a first class international cast. Driven by endless hatred, the one-legged Captain Ahab hunts the mysterious white whale Moby Dick clear across the seven seas in this modern myth about an archaic yet timeless battle between life and death.

Herbert Kloiber’s Tele Muenchen Group has been power- ing into event TV-movies recently and this latest, Moby Dick, promises to be a real hit!

Starring Academy Award®-winner William Hurt as Captain Ahab, and Academy Award®-nominee Ethan Hawke as first officer Starbuck, Moby Dick is budgeted at $22.5 million, making it the

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1 · 2010 38 remain the same – even though the names of the systems may be changed.”

Bauder came together with two authors Doerte Franke (Jeder schweigt von etwas anderem) and Khyana el Bitar (Mitfahrer) for the development of the screenplay for Das System. Scene from “Das System” Scene from “While Khyana already had many years of experience in the develop- (photo © Knapp/Frisbeefilms) ment of feature films, Doerte could contribute an inner perspective through her own biography,” he notes. “This story poses existential questions which – quite independently of the subject of the GDR – have an importance for us all: the search for a father or one’s own roots. The desire to free oneself of past guilt. The alluring hope perhaps after all to be something better than everyone else. The value of friendship. And the question of whether one can simply erase a Das System past or will it just catch up with one again.” Jacob Matschentz and Henry Huebchen were Bauder’s first Type of Project Feature Film Cinema Genre Coming-of-Age choice for the roles of the main characters in Das System: the Story, Drama Production Company Frisbeefilms/Berlin, in co- young dropout Mike Hiller who comes under the spell of the charis- production with ZDF Das kleine Fernsehspiel/Mainz With matic businessman Konrad Boehm and becomes entangled in a paral- backing from Mitteldeutsche Medienfoerderung, Medienboard lel world of international lobbyists and former GDR secret service Berlin-Brandenburg, BKM, German Federal Film Fund (DFFF) agents. At the same time, Mike begins to realize that his own past is Producers Alexander and Manuel Bickenbach Commissioning more closely connected with this world than he had previously as- Editor Burkhard Althoff Director Marc Bauder Screenplay sumed. Doerte Franke, Khyana el Bitar Director of Photography Daniela Knapp Production Design Petra Albert Principal Cast “The particular strength of this project is that the story is not told just Jacob Matschentz, Henry Huebchen, Jenny Schily Casting Suse in terms of black and white,” Manuel Bickenbach explains. “The Marquardt Besetzungsbuero/Berlin Format 35 mm, color, Dolby focus is more on the grey areas in between.” Shooting Language German Shooting in Rostock, Leipzig, Halle, March – April 2010 “We were attracted by the subject matter, and the fact that the story takes an unusual perspective on the history of the two Germanies, Contact which wasn’t shown before,” his brother Alexander continues. Frisbeefilms GmbH & Co KG “There is the issue of corruption, a coming-of-age story, and the con- Mulackstrasse 19 · 10119 Berlin/Germany flicts within a family’s past which have never been aired in the open. phone +49-30-24 62 83 30 · fax +49-30-24 62 83 31 Moreover, the combination of a certain edginess in the narration with email: [email protected] · www.frisbeefilms.com the setting in the world of lobbyists is something that has got sales companies interested.” MB “Das System is consistent with the type of projects we want to make,” says Alexander Bickenbach of Berlin-based Frisbee- films about documentary filmmaker Marc Bauder’s first foray into fiction this spring.

“We liked Marc’s documentaries Jeder schweigt von etwas anderem and Der Top-Manager and he came to us early on with the idea for Das System,” he continues, adding that he and his brother Manuel then invited Bauder to visit the shoot of their film 66/67 in summer 2008 “to see how we worked and the people we work with.”

The seeds for the plot of Das System had been sown some eight years ago when Bauder was doing research for a documentary and came upon the book Staatsicherheit – Seilschaften which made a lasting impression upon him as it gave a detailed description of how leading figures in the East German Secret Service and SED party had prepared their smooth transition into the free market economy after the fall of the Berlin Wall in 1989.

“This book not only shows in a frightening way the continuity of the old GDR elites,” Bauder explains. “It also shows that the economic cooperation between the supposedly hostile systems before and after 1989 was more continuous than many people would like to accept today. This book was for me vivid proof that the fundamental mecha- nisms of holding onto power, manipulation and seduction always german films quarterly in production

1 · 2010 39 mentally they want to still hold on to their familiar, and youthful, lifestyle.”

“This is a coming-of-age film,” Held continues, “in which the protagonists are no longer teenagers but still have to reshape their (photo © Koppfilm) future anew. I show their daily life whilst on tour, what it’s like to spend months in a bus with little possibility of privacy. You get to see in front of and behind the stage, with some very cool events. The guys talk about their own impressions of life after the GDR, their everyday existence and the lifestyle that’s so closely tied up with it, as well as

On the set of the Roadcrew” Are “We how they manage a family life with their children, girlfriends and wives and what they do in their spare time.”

We Are the Roadcrew also marks another kind of graduation: “We are ramping up our own production activities,” says producer Niklas Baeumer. “This is one of the first films from Koppfilm We Are the Roadcrew Productions, a subsidiary of technical service provider Koppfilm, which accompanied, as a co-producer, Aleksandr Sokurov’s Russian Type of Project Documentary Cinema Genre Society Pro- Ark.” Among Baeumer’s previous credits is Pingpong, which played in duction Company Koppfilm Productions/Berlin, in co-produc- the Critics’ Week sidebar in Cannes in 2006. tion with Koppmedia/Halle, Hochschule fuer Film und Fernsehen “Konrad Wolf ”/Potsdam-Babelsberg With backing from SK Mitteldeutsche Medienfoerderung, Medienboard Berlin-Brandenburg Producers Niklas Baeumer, Anne-Kathrin Gliese Director Olaf Held Screenplay Olaf Held Director of Photography Johannes Louis Music by Benjamin Dickmann Format HD, blow- up to 35 mm, color, 1:1.77, Dolby Stereo Shooting Language German Shooting in Leipzig, Chemnitz, Berlin, Magdeburg and others, July – December 2009

Contact Koppfilm Productions GmbH · Niklas Baeumer Novalisstrasse 10 · 10115 Berlin/Germany phone +49-30-28 39 25 77 · fax +49-30-28 39 25 99 email: [email protected] · www.koppfilm.de

ROCK’N’ROLL!!!!!!!! Which red-blooded guy or girl hasn’t dreamed sometime of being a roadie, living the rock’n’roll life, doing the back- stage and technical work for some mega band, enjoying a constant supply of beer, hot and cold running groupies, infrequent showers, getting to wear a laminated Access-All-Areas badge and searching for the perfect bacon sandwich?

We Are the Roadcrew is the directorial debut and graduation film of Olaf Held, who now picks up the story: “Since the mid- 1990s many of my friends from Chemnitz have been working in various roles for several German concert agencies. Rooted in the Karl-Marx-Stadt punk scene, they were happy to have work after the Wall came down, work that wasn’t of the full-time kind, especially as was compulsory in the socialist system.”

Axel, Tino, Jan and Marco are We Are the Roadcrew’s heroes, each one portrayed and showing what it feels like to grow older in a youth culture where the battle cry used to be “Live fast, love hard and die young!”

Being a roadie was the perfect job: it provided money and the feeling of freedom, as well as fitting the image of a punk rocker! But now, aged mid and late 30s, things have changed. “After 15 years touring and physically hard work, they’re showing the first signs of wear and tear,” Held explains. “Jobs often go to younger colleagues, they need more time to rest and they’re feeling their age in an industry when

german films quarterly in production

1 · 2010 40 KODAK GMBH Entertainment Imaging 70323 Stuttgart 12 MeterOhneKopf Kahles Editor Matthias Pacht 12 PACES WITHOUTAHEAD Schubert, Ralph Schwingel, Bjoern Vosgerau Schwingel,Bjoern Ralph Schubert, Production of Genre nears… so thefinalbattle mighty Hansehasalsostocked uponitsweaponsandthe –butthe weapon liftstheirspiritsandreignitesbond pirate isinevitable,untilthediscoverywonder ofasecret AfightwithMichels,or gardener? theflamingfull-blooded tofacehisfuture:Whatforced now Stoertebeker?Guerilla evokes inhimdreamsofaquietlifeonland,heisfinally up fallinginloveandfeistyBille,who withthebeautiful whether thislifeholdsafutureforhim,andwhenheends toquestion capture aship,thelegendarypiratebegins When to inabattle Stoertebekerisseriouslywounded crew.down andtheirbold theonceinvinciblebuccaneers oftheHansehasworn “moneybags” with thoseloathed Buttheconstantfightingandbattling he isalivinglegend. and arevolutionary,tohisloyal troopsofseapirates seashaveBaltic lentStoertebekerthereputationofarebel and GoedekeMichels.EndlessconquestsontheNorth theway oflifeforhigh-seapiratesKlausStoertebeker been Having fun,sparkingchaos andkicking upariothave long · 2010 1 filmsquarterlygerman hn 4- 153 09 a 4- 153 0910 70 39 [email protected]: ·www.the-match-factory.com 21-5 +49-2 90·fax 70 39 21-5 phone +49-2 Balthasarstrasse 79-81 ·50670Cologne/Germany GmbH· Michael WeberThe MatchFactory World Sales Production Design Comedy, History Andreas Wodraschke Director of Photography Photography Director of 2009 Director Category Music by Peter Menne Sven Taddicken Feature FilmCinema Christoph Blaser, Steffen Co-Producers Producers Daniela Knapp Screenplay Stefan Year Nina Paces Without aHead (2008), Simone Baer Schoenemann, FranziskaWulf, Pallaske, Jana Buck Detlev MatthiasSchweighoefer,Ronald Zehrfeld, Striesow, Devid Hinnerk MagnoliaFilm/Hamburg Germany/Hamburg, Film/Hamburg, inco-production withWarner Bros. Pictures Original Version Bohlmann, BabetteSchroeder 2001), Getting MyBrother Laid Cream Fisch ( Award/Student OSCAR Foreign theHonorary 1999, hewasalsonominatedfor Student CutsCologne Lappeenraanta,andFirstPrizeatShort Finnish festival FilmPrizeatDresdenNational Short 1999,theMainPrizeat 2002. Winningnumerousawardsincludingthe international Directing attheBaden-Wuerttemburg from FilmAcademy 1996- Sven Taddicken Board (FFA), Federal German FilmFund(DFFF) FederalFilmfoerderung HamburgSchleswig-Holstein,German Film Technology Schaefchen Zaehlen (1997), Emma’s Bliss eln–1to May Berlin –1stof (1998), Length Whodunit?! Dolby DigitalSREx Einfach sobleiben Einfach German German was born in1974Hamburgandstudied was born 102 min ® , 1999). His other films include:theshorts , 1999).Hisotherfilms ( 2000 for his film hisfilm 2000 for Emmas Glueck ( Subtitled Version 12 MeterohneKopf (1998), Production Company ( Berlin –1.Mai ( Format Mein Bruder derVampir El Cordobes With backingfrom (2002), hisfeaturedebut 35 mm,color, 1:1.85 Counting Sheep , 2006), Principal Cast new german films german new , 2008),and English English (1998), , 2009). Braams Casting Sound Wueste Ice 12 , 42

Scene from “12 Paces Without a Head” (photo © Britta Krehl/Wueste Film) ALL FORNOTHING! Alles Umsonst! long since become aneveryday reality.long sincebecome forafuturethathas developed these conceptshave been forafuturewithoutfullemployment.However,designed employment toconcepts structuresandisintroduced The withthedemiseoffamiliar audienceisconfronted courage, solidarityandcreativity. yokeas wellthosetryingtocastofftheirabject with laden,indifferentandoptimisticsouls, counters troubled, Heen- mentary jobsandadventurousbusinessmodels. entersanobscureworldofsupple- test andsubsequently Mr. Peterstothe toputtheconsultant’stheories decides how tostartabusinessasan“independenttravel escort”. abusinessconsultantwhooffershimironictipson meets Itisduringoneofthesetripsthatthefilmmakersituation. toapplythesamemethodhisowndecides adverse “escorting” groupsoftouristsacrossthecity,Mr. Peters incomesby whosupplementtheirinadequate people ticket Afterhearingabout forthepublictransportsystem. card tohisname.The onlycapitalhepossessesisagroup maker standingattheairportwithoutapennyorcredit trip toforeignclimes,sheinadvertentlyleaves thefilm- When JanPeters’ accidentlytakes girlfriend hiswalletona · 2010 1 filmsquarterlygerman hn 4-043 61 a 4-04 86 11 · www.filmtank.de [email protected] email: 61 18 +49-40-43 10·fax 86 31 phone +49-40-4 Lippmannstrasse 53·22769 Hamburg/Germany HamburgFilmtank GmbH World Sales (please contact) (please Genre I Became aCaveI Became Painter December, 1-31 Ende –13 Europaeer wurde Management Idea Tour Guide Life of Meaning Umsonst! or 14 Production clude: in- exhibitions. inart Hisfilms creates andparticipates radioplays healso andfeaturefilms, Abbildungszentrum. Inadditiontoshort group thefilmmakers Institut (HfbK).In1994,heco-founded PetersJan Holstein, MFGBaden-Wuerttemberg, MEDIA With backingfrom Subtitled Version 89 min Hamburg, inco-production withZDF/Mainz,3sat/Mainz Director of Photography Photography Director of Producer Nina vonGuttenberg,SandraTrostel (short, 2008), (short, Format (short, 2004), (short, Schwarzaergerer Society , 2010). Thomas Tielsch was born in1966andstudiedattheHamburgArt was born (short, 1998), (short, 2010 (short, 2007), (short, (short, 2009),and (short, 35 mm,color, 16:9 Category Time’s Up–AnExperiment inTime- Director (short, 1999), (short, (2005), But IStillHaven’tFigured Outthe (short, 2004), (short, English English BKM, FilmfoerderungHamburgSchleswig- Production Company November, 1-30 w rTreTkso One Two orThree Takes of How aFreelance IBecame (short, 1995), (short, Sound Technology Documentary Cinema Documentary Jan PetersJan Marcus Winterbauer I Am33 (short, 2001), (short, Bye Bye Tiger All forNothing! Original Version Music by Screenplay (short, 2000), (short, November 9, new german films german new Wie ichein (short, 1998), (short, Pit Przygodda (2004), Year of Year Dolby SR Jan PetersJan Filmtank/ Editors Length German ( Alles How 13 43

Scene from “All for Nothing!” (photo © Marcus Winterbauer/Filmtank) Stienz Betty B. &TheBetty B. The’s Production Genre &The BettyB. The’s. teuse oftheband thehugechan-One eveninghecomesacrossBettyB., with noworkandfriendssmileonhisface. Tobias Ashortman lifeisnotcrownedwithsuccess. B.’s 35 mm,color, 1:1.85 Tobi B., Heiko Pinkowski,MatthiasHinz Technology Stienz Strangenough Pictures/Berlin Marcus Forchner, Felix Stienz 2009 2010(InCompetition) Clermont-Ferrand Izmir 2009,Around theWorld Berlin2009,FILMZ Mainz 2009, · 2010 1 filmsquarterlygerman email: [email protected] ·www.strangenough.comemail: 70 90 51-22 phone +49-1 Oberbaumstrasse 5·10997 Berlin/Germany Strangenough Pictures ·Marcus Forchner World Sales With backingfrom ietro Photography Director of Production Design Art, Drama,LoveStory,Art, Music 2009 Dolby SR (please contact) (please Director Original Version Festival Screenings Nordmedia Principal Cast Heike Lauer-Schnurr Felix Stienz Production Company Category Lynne Linder Length Awards no dialogue Screenplay 13 min Maluse Konrad, 3rd PlaceMainz Short Short Luenen 2009, Editor Producers Format Year of Year Sound Felix Felix Betty B. &TheThe’s Betty B. Maedchensachen und wir (2006), include: strange shorts.Hisfilms screenings inEurope entitled registered film short associationfor Felix Stienz Rolleduesch (2007), was born in 1982 in Berlin. In 2006, he founded a in1982Berlin.In2006,hefounded was born Nenn mich einfach TobiNenn micheinfach B. (2008), (2006), (2009). 2minuten Meeting Laura Ladenhueter (2005), new german films german new (2007), Der Jaeger (2009), and (2008), Antje 44

Scene from “Betty B. & The The’s” (photo © Strangenough Pictures/Stefan Hoederath) Bis aufsBlut Genre plan: onelastdrugdealtofinancetheirtuningshop! AndSulehasthemaster from Suleandhisoldfriends. the goinggetstough,though,onlysupporthefindsis Whenhim, andheisgoingtofindoutwhoputhiminjail. Heknowssnitchedon sworn offthedrugs. thatsomeone whenhegetsout,TommySince heisstillonprobation has hell. mates whorelentlesslytormenthim,provealiving tobe Hissixmonthsinjuvenileprison,withcell going tosell. – untilTommy getscaughtwithsomedopetheywere there’s notomorrow anddreamoftheirown tuningshop Theirfriendship. posseistheirfamily,theylivelifelike Tommy 19) andSule(both arelike brothers:abullet-proof Kienle Production Baden-Wuerttemberg/Ludwigsburg burg, inco-production withSWR/Baden-Baden,Filmakademie Opett Patrick Eppler duction Design · 2010 1 filmsquarterlygerman hn 4-14- 20 4·fx+97 124 394 03 42 [email protected] email: 41-2 +49-71 94·fax 01 42 41-2 phone +49-71 Groenerstrasse 33·71636Ludwigsburg/Germany InternationalGmbH ·TinaCapella Halm World Sales Production Company ietro Photography Director of Drama, Music 2010 Music by Kobita Syed Director Category Johnny Klimek,ReinholdHeil Johnny Oliver Kienle Oliver Producers CP BaBProductions/Ludwigs- Feature FilmCinema Principal Cast Moritz Reinecke Ralf Hartmann, Petra Hartmann, Ralf Screenplay Year of Year Editor Oliver Pro- Jacob – Brueder aufBewaehrung – Brueder (2010). with graduating at theBaden-Wuerttemberg from FilmAcademy 2004 –2010, Director andBestActorinCalvados2004for andgarnerednumerous awards, includingBest tional festivals three years, eightwere screenedandinterna- atvariousGerman Falschrum entitled acomedy film, short directed andproduced hisfirst production intheWuerzburgmercial film area. In2001hewrote, in Wuerzburg, healsoworkedtimeatblick-con-takt,acom- part LiteratureWhile hestudiedGerman atJulius-MaximilianUniversity Oliver Kienle Award &StudentJury Saarbruecken 2010 Competition) Screenings German YouthGerman VideoPrizein2005for Grosser BAF BayerischerLoewe in2005for sion Juliane Weininger Original Version Lisa Fries, SimoneThomalla,Peter Lohmeyer Matschenz, BurakYigit,Manuellsen,BalderBeyer, AylinTezel, Liv English English . Out of the 14 films hemadeduringthefollowing the14films . Outof Awards Awards Sound Technology Max Ophuels Festival SaarbrueckenMax OphuelsFestival 2010(In i usBu ree u Bewaehrung Blut–BruederBis aufs auf was born in1982DettelbachnearWuerzburg.was born Length German/English/Turkish Thomas StrittmatterPrize2009,Audience 109 min Format Blaue Stunde Blaue Dolby Digital Casting 35 mm,color, 1:1.78 Subtitled Ver- Viola new german films german new Lichtpause . Hestudied Nina Haun, , andthe Festival , 45

Scene from “Bis aufs Blut” (photo © CP BaB Productions GmbH & Co. KG) Draussen am See LOSING BALANCE Scene from “Losing Balance” (photo Scene from © mem-film)

Despite a dark secret, 14-year-old Jessika fights to keep her Nicole Kortlueke Music by Philipp F. Koelmel Production broken family together. While each family member is Design Barbara Falkner, Sabrina Barteleit Producer Katharina caught up in their own drama, Jessika realizes that only a Schoede Production Company mem-film berlin/Berlin radical step can save her from falling apart. Principal Cast Elisa Schlott, Michael Lott, Petra Kleinert, Sina Tkotsch Casting Sigrid Emmerich Length 105 min Format HD When Jessika’s father loses his job, their family life be- CAM Blow-up 35 mm, color, 1:1.85 Original Version German comes an impossible struggle. While her parents try to Subtitled Version English Sound Technology Dolby SR repair their already off-balance relationship and her sister Festival Screenings Munich 2009, Montreal 2009, Cambridge becomes increasingly obsessed with boys, Jessika is left to 2009, Schlingel Chemnitz 2009, Braunschweig 2009, Santa Barbara her own devices. The lack of communication between the 2010 Awards Young German Cinema Award 2009 for Best parents and their incapability to manage their off-kilter Production & Best Actress, Best First Feature & Award of the situation culminates in a horrifying event that Jessika is Student Jury Biberach 2009 With backing from FilmFern- forced to witness. In the face of her parents’ delusional sehFonds Bayern denial, Jessika begins to fall into a deep self-destructive depression. To save herself from her family’s dark abyss, Felix Fuchssteiner was born in 1975 in Paderborn. He graduat- and despite her parents’ continuous attempts to hold her ed from the University of Television & Film in Munich with his back, Jessika decides to take her future into her own hands award-winning film Die Kurve (2003). His work as a director and takes a very courageous step … includes: Graffiti (trailer for the Munich International Film Festival, 2000), episodes of the TV series Verbotene Liebe (2004), Losing Genre Coming-of-Age Drama Category Feature Film Cinema Balance (Draussen am See, 2009) and several commercials Year of Production 2009 Director Felix Fuchssteiner and corporate films. He is also active as a producer and plot deve- Screenplay Katharina Schoede, Felix Fuchssteiner Directors of loper for various television formats. Photography Matthias Schellenberg, Ralf H. Schlotter Editor

World Sales (please contact) mem-film berlin GmbH & Co KG · Katharina Schoede Oderbergerstrasse 20 · 10435 Berlin/Germany phone +49-30-75 45 78 30 · fax +49-32 12-1 23 94 76 email: [email protected] · www.mem-film.de · www.losingbalance.com german films quarterly new german films

1 · 2010 46 Engel mit schmutzigen Fluegeln ANGELS WITH DIRTY WINGS Scene from “Angels with Dirty Wings” (photo © wtp international) “Angels Scene from

“Morality is the excuse for those who don’t dare to live Geiselgasteig Principal Cast Antje Nikola Moenning, Mira their truth.” Gittner, Marina Anna Eich, Maren Scholz, Martin Kagerer Length 86 min Format DV Cam Blow-up 35 mm, color, 1:1.85 Michaela, Gabriela und Lucy are angels of vice. On their Original Version German Subtitled Version English Sound motorbikes, they ride through the countryside to live their Technology Dolby SR Festival Screenings Sitges 2009, Hof pleasure. They could see a lot, but they only see them- 2009, Goa 2009, Chennai 2009, Fantasporto 2010 selves. They call themselves angels, but they are angels with dirty wings. To be a full-fledged member in the exile Roland Reber has been working as a director and actor in the- paradise of angels, Lucy has to prove herself and stand the aters around the world since the 1970s. In 1981 he founded the test. Theatre Institute where he worked from 1981 – 1989 in Hamburg, Hattingen and Luenen. In 1989, he founded the Welt Theater Pro- The new film by Roland Reber and Mira Gittner is an jekt (within the framework of the World Decade for Cultural anthem of immorality. A holy song of egoism and a pain- Development of the United Nations and UNESCO) and worked as ful study about our time and a generation who rent their a director, writer and head of WTP in India, Moscow, Cairo, Mexico feelings: “Only castrated angels need morals.“ City and in the Caribbean. He also has been a cultural advisor to different countries and institutes and taught Acting and Directing in Angels with Dirty Wings isn’t an authentic, pure and Moscow and the Caribbean. He received the Cultural Prize of direct film about “good and evil” but rather one about au- Switzerland (1976) and the Caribbean award Season of Excellence thenticity. The film shows offensively and intensively the (1991 & 1993) as a director and writer. For his direction of the fea- lawless addiction of living – but what are we actually seek- ture The Room (2001) he received the Emerging Filmmaker ing in life? Award 2001 in Hollywood and the President’s Award 2000 in Ajijic/Mexico, among others. His other films include: Ihr habt Genre Drama Category Feature Film Cinema Year of Pro- meine Seele gebogen wie einen schoenen Taenzer duction 2009 Director Roland Reber Screenplay Roland (1979), Manuel (short, 1998), Der Fernsehauftritt (short, Reber Editor Mira Gittner Music by Wolfgang Edelmayer 1998), Der Koffer (short, 1999), Zwang (short, 2000), Sind Producers Patricia Koch, Marina Anna Eich, Roland Reber, Antje Maedchen Werwoelfe? (short, 2002), Pentamagica (2003), Nikola Moenning Production Company wtp international/ The Dark Side of Our Inner Space (2003), 24/7 The Passion of Life (2005), My Dream or Loneliness Never World Sales (please contact) Walks Alone (2007), and Angels with Dirty Wings (2009). wtp international GmbH · Marina Anna Eich Bayerisches Filmzentrum · Bavariafilmplatz 7 · 82031 Geiselgasteig/Germany phone +49-89-64 98 11 12 · fax +49-89-64 98 13 12 email: [email protected] · www.wtpfilm.com german films quarterly new german films

1 · 2010 47 S.48_Entbehrlichen.qxp 02.02.2010 18:01 Uhr Seite 1

Childhood days are history for 10-year-old Jakob. His Genre Drama Category Feature Film Cinema Year of Pro- father Juergen and mother Silke are out of work and have duction 2009 Director Andreas Arnstedt Screenplay long since surrendered to their alcohol problems. Violence Andreas Arnstedt Director of Photography Patrizia and heated arguments alternate in the family with tender Lewandowska Editor Sylvain Coutandin Music by Contriva moments. Grandma Rosemarie is the only one who seems Production Design Carolin Schirling Producer Andreas to give the family’s chaotic life a certain grounding. And Arnstedt Production Company Questionmark Entertain- then there’s Hannah, Jakob’s girlfriend from a well-to-do ment/Berlin Principal Cast André Hennicke, Steffi Kuehnert, family, who remains loyal to Jakob despite her parent’s Matthieu Carrière, Ingeborg Westphal, Oskar Boekelmann lack of understanding and the mobbing from her fellow Length 106 min Format HD CAM Blow-up 35 mm, color, pupils. 1:1.85 Original Version German Subtitled Version English Sound Technology Dolby SRD Festival Screenings São When Jakob’s mother has to go to the hospital after the Paulo 2009, Hof 2009, Bangladesh 2010 Awards Best Director & latest bust-up, his father completely loses control. A catas- Best Actor São Paulo 2009 trophe is in the cards with Jakob doing everything to preserve the illusion of a normal family life. After all, there’s Andreas Arnstedt was born in 1973 in Gera. He studied at the one thing he’s certain about: if the family falls apart, he will University of Film and Television “Konrad Wolf ” in Babelsberg from have to go into a home and that’s something he wants to 1990 – 1993, followed by work as an actor in film, television and the avoid at all costs. Quite unexpectedly, help and under- theater. In 1997 he began writing and directing various theater plays standing is forthcoming from his girlfriend Hannah who and scripts, including The Chancellor and the Collection of Goering and turns out to be a very pragmatic companion. No One Wants to Be the Other One. The Dispensables (Die Entbehrlichen, 2009) marks his film debut. A modern Berlin backyard ballad in the tradition of the German auteur film: drastic, bizarre and close to the reality of the reunited Germany.

World Sales Aktis Film International GmbH · Stelios Ziannis Altenburgerstrasse 7 · 04275 Leipzig/Germany phone +49-3 41-35 00 26 10 · fax +49-3 41-35 00 26 19 email: [email protected]

german films quarterly new german films

1 · 2010 48 Benedikt Lange Salazar Ivancan Akkus EVET, IDO! Evet, ich will! fProduction of Genre the Turkish for“yes”. withtheadvice:Justsay comedy “evet”, good-humored cardissue.A AndSalih,hehasagreen circumcised? being ofhim Oraretheyjustscared him toconvertIslam. in love withaTurkish Dirk’sparentsdon’twant Alawi girl. Turkish Heloves Tim.Kurdish girl. Coskunshouldnotbe himtomarryanice complications: Emrah’sparentsexpect days, passionandcross-cultural parentsareupagainst Butthese bytheirparents. their marriagewasarranged yearsago,theTurkishnearly 60 shopowners haditeasy; Intheirday, turmoil. fourcouplesinpre-wedding connects A bridalshopclearancesaleisthecommonalitythat Lohmann, ClaudiusLohmann · 2010 1 filmsquarterlygerman hn 4- 194 45 a 4- 194 457 44 42 [email protected]: ·www.filmkunst-intl.com 21-9 +49-2 56·fax 44 42 21-9 phone +49-2 5·50968Cologne/Germany Kastanienallee filmkunst international·Joris Eckelkamp World Sales Director of Photography Photography Director of Romantic Comedy Romantic Comedy Music by Producers 2008 Director Category Ali N. Askin Ali N.Askin Gudrun Ruzicková-Steiner, Nikolaus Co-Producer Sinan Akkus Feature FilmCinema Peter Nix Production Design Screenplay Tilo Seiffert Tilo Seiffert Editor Renata Year Pro- Sinan ich will! Cinemaniacs Berlin 2009 Turkey-Germany2008, FilmFestival Nuremberg 2009,Achtung nology Sevda heisstLiebe 1994), AkkusSinan FederalBerlin-Brandenburg, German FilmFund(DFFF),BKM Mention AchtungBerlin2009 Subtitled Versions 35 mm,color, 1:1.85 Uener, Tim Seyfi Korittke, LaleYavas, Huser, Uelgen,Lilay Meray PinarErincin,Idil Principal Cast Cinemendo/Munich, RBB/Potsdam-Babelsberg, ARTE/Strasbourg duction Company Mission Cuba DTS 5.1Digital , 2008). Awards (short, 2003),andthefeature (short, ’ films include: ’ films Casting Heinrich Schafmeister, IngeborgWestphal, Oliver German, English, Turkish English, German, Audience Award Luenen2008,Special Luna-Film/Berlin, inco-production with Festival Screenings Original Version (short, 2000), (short, (short, 1995), (short, Emrah Ertem Emrah Ertem With backingfrom Schnell undSauber Length Zeig Dich!!! Lassie Evet, IDo! German/Turkish 90 min new german films german new Kinofest Luenen Kinofest Sound Tech- (short, 2002), (short, Medienboard Format ( (1997), (short, Evet, 49

Scene from “Evet, I Do!” (photo © 2008 Luna-Film/ Nikolaus & Claudius Lohmann/Cinemendo/RBB/ARTE) Die Fraumitden5Elefanten love oflanguagethatoutshinesallelse. chancessuffering, silenthelpersandunhoped-for –a Ittellsofgreat this inexhaustiblyhard-workingwoman. of Geier’s lifewithherliteraryworkandtracesthesecret the Ukraine.The filminterweaves thestoryofSwetlana totheplacesofherchildhoodhome inGermanyback in year-old womanismakingherfirsttripfromchosen Together Vadim withthefilmdirector Jendreyko, the85- overshadowedhistory. byEurope’svaried life hasbeen Her forthewritersshetranslates. compromising respect forlanguageandanun- by agreatandsensualfeeling – known as“thefiveelephants”.Herworkischaracterized pleting newtranslationsofDostoyevsky’s fivegreatnovels lifework forZurich’s Ammannpublishinghouse–com- her Shehasjustconcluded Russian literatureintoGerman. Swetlana thegreatesttranslatorof Geierisconsidered · 2010 1 filmsquarterlygerman email: [email protected] ·www.nourfilms.comemail: 60 38 67 76 phone +33-6 4, rue EugèneVarlin ·75010Paris/France Nour Films World Sales THE WOMANWITH5ELEPHANTS ero Production Year of Genre Format tion with3sat/Mainz,SwissTelevision SF/Zurich Companies Thomas Tielsch, Hercli Bundi,Vadim Jendreyko Music by Niels Bolbrinker, StéphaneKuthy Screenplay Woman withthe5Elephants Maximum Performance tary, 2002), together with Hercli Bundi. His films include: together withHercli Bundi.Hisfilms Academy. Art MiraFilm In2002,heco-founded the Duesseldorf andat Art Applied Switzerland. HestudiedattheBaselSchoolof Vadim Jendreyko backing from 2009, PrixSuisseimageDEFA Promotion Award 2009 Rotterdam 2010 2010,Solothurn Viennale 2009,DokLeipzig 2009,DuisburgKassel 2009, Optical Sound Subtitled Versions History, Literature 35 mm,color, 16:9 Transit –Zurich Airport Daniel Almada, Martin Iannaccone Daniel Almada,Martin Filmtank/Hamburg, MiraFilm/Zurich,inco-produc- Vadim Jendreyko Festival Screenings MFG Baden-Wuerttemberg, BAKMEDIA Bern, was born in 1965 in Germany and grew upin andgrew in1965Germany was born German, English English German, 2009 Original Version Category (documentary, 2004),and Editor ietr fPhotography Directors of Awards Awards Director (documentary, 2009). Nyon 2009, 2009,Locarno Gisela Castronari-Jaensch Sound Technology Documentary Cinema Documentary Bashkim (documentary, 2003), Prix SSRIdéeSuisse Vadim Jendreyko Russian/German Length new german films german new Production Producers (documen- 93 min With The 50

Scene from “The Woman with the 5 Elephants” (photo © Niels Bolbrinker/Filmtank/Mira Film) PEACE PUNCH–THEYEAROFDECISION Friedensschlag their own pasts? self-images andcometotermswithrealitythus take theirlastchance. Will abletogetridoffalse theybe theymustfindoutifareableto ’year ofthedecision‘ with apositivefather-figure andarealauthority. Inthe For thefirsttimeintheirlivestheseyoungstersarefaced learn togetupagain. themselves,tilltheyfallandthereby other butalsoagainst hope liesidebyside.The youngstersfightnotonlyeach Sadness andjoy, doubtandsureness,desperation In theringeachtorevealhimself. ofthemisforced tional sense.This isthestartoftheirpathtowards peace. theirinternalpainsintheemo- selves andtorecognize togetintouch withthem- Theysonal development. begin is thenarrativethreadandalsowhattriggersofftheirper- Boxing abletodoforyears. something theyhave notbeen to reachforcontactsandintimacy,which outagain is extremelyaggressive,theyhaveselves andhaving become to self-assurance. Having withdrawn whollyintothem- to endupinjail,ortheyhave tobreakthroughallbarriers They byaharshchallenge. arefaced Eithertheybound into self-confidence andresponsibilityfortheirown lives. their destructiveenergyintocreativity,andself-hate toresortviolence,transform Five youngmen,prepared · 2010 1 filmsquarterlygerman hn 4-08 52 0·fx+93-14 955 ·www.boomtownmedia.de [email protected] email: 29 45 +49-30-81 50·fax 29 45 phone +49-30-81 Fuggerstrasse 33 ·10777Berlin/Germany Boomtown MediaInternational GmbH&CoKG ·Uwe Dierks World Sales (please contact) (please experienced cameraman. featurelengthdocumentariesasan inoverfifty been involved Gerardo Milsztein Board (FFA) FederalBrandenburg, FilmFernsehFondsGerman Film Bayern, (Panorama) Technology Original Version Werk/Berlin Boomtown Media/Berlin,inco-production withPictorion-Das Dierks, ThomasGrube,Andrea Thilo Editors Milsztein Cinema mentary Genre DasJahrderEntscheidung – Coming-of-Age Story, Drama,Society Thomas Grube,BarbaraToennieshen ietro Photography Director of Length With backingfrom Dolby Digital ero Production Year of German German studied Direction inBuenosAires andhas 107 min Peace Punch Subtitled Version Festival Screenings Format Production Company 2010 is hisdebutasadirector. Medienboard Berlin- 35 mm,color, 1:1.85 Director Gerardo Milsztein Category Producers new german films german new English English Berlin 2010 Gerardo Sound Docu- Uwe 51

Scene from “Peace Punch” (photo © O. Sachs/Boomtown Media) THE HAIRDRESSER Die Friseuse Stieler Production Genre Tien. Silke, theslick trafficker Joeandthelovable Vietnamese like people theattractivehairdresser fortune, shemeets Ontheuphillpathtogood andconsultants. the banks theauthorities, to SalonKrieger.against Astrugglebegins own hairdressingsaloninanemptyAsiansnacknext bar shakenwon’t be offthateasily. toopenher Shedecides However, character, Kathiisaverydetermined andshe Kriegersays. is whatthesalon’smanagerMs. – veryfatandtherefore“notaesthetic”.Oratleastthat Kathiisfat down.Because turned center, butshehasbeen that newjobinthehairdressingsalonofabigshopping work, butnoonewilllether. Shefeltsureshewouldget Shewantsto withherdaughterJulia. Berlin-Marzahn hairdresser KathiKoenig livesonaprefabestateblock in Unemployed and houseinthesuburbsareallgone,too. job doesn’texistanymore–andherhusband, Her GDR Production Design Regnier ofZacher, Ill-Young Kim,ChristinaGrosse, Maren Kroymann, Rolf Principal Cast Production Company · 2010 1 filmsquarterlygerman hn 3-06 73 5·fx+12- 61 55 [email protected]: ·www.fortissimo.nl 11 26 +31-20-6 15·fax 32 27 phone +31-20-6 Van Diemenstraat 100·1013CNAmsterdam/The Netherlands Fortissimo FilmSales World Sales ietro Photography Director of Music by Drama 2010 Category Gabriela MariaSchmeide,NataschaLawiszus, Director Ivan Hajek,Coconami,LaBrassBanda Susanne Hopf Feature FilmCinema Doris Doerrie Doris Doerrie Collina Filmproduktion/Munich Producer Hanno Lentz Screenplay Ulrich Limmer Editor Year of Year Laila Inez ( ( Your Life Frauen niegenungbekommen Get Enough schoen? liebt mich liebt Birthday, Tuerke! The Fisherma leuchtung garantiert er 1985), Maria Happel Whale Heart include: Her award-winningfilms today.Department Inadditiontodirecting, sheisalsoanovelist. Television &FilminMunich,whereWriting she runstheCreative of intheUSA,shestudiedatUniversity andPsychology Philosophy Doris Doerrie Film Fund(DFFF) FederalBrandenburg, German FilmBoard (FFA), Federal German backing from Festival Screenings Format titled Version Die Friseuse Kirschblueten –Hanami , 1988), Paradise ( Mitten insHerz ( ,1998), Im InnerndesWals 35 mm,color, cs Money , 1994), (2007), Casting , 2010). ( Der FischerundseineFrau–Warum n and HisWifen and –WhyWomen Never FilmFernsehFonds Medienboard Bayern, Berlin- ( was born inHannover.was born Acting, Afterstudying Paradies Enlightenment Guaranteed ( English English Geld , 1992), Cherry Blossoms –Hanami Berlin 2010(BerlinaleSpecial) , 2000), , 1989), Am I Beautiful? Am IBeautiful? Doris Borkmann Sound Technology , 1983), Original Version , 1986), , 2008),and Nobody Loves Me Happy Birthday! “Naked” Straight Through the , 1984), nieteBlyo the Inside theBellyof Me and Him Me and , 2005), The Hairdresser Length Men How toCook ( new german films german new Nackt German German ( ( Maenner Bin ich Dolby SR ( Ich und ( 100 min ( Keiner , 2002), Happy With Sub- ( Er- , 52 Scene from “The Hairdresser” (photo © Constantin Film Verleih GmbH/Mathias Bothor) Scene from “Face the Wall” (photo © The Core Films) FACE THEWALL Gesicht zurWand palpable in the best possiblesense! palpable inthebest makes animportantchapter inGermanhistorymore judge, provokethefilmdocumentsand Rather, orexplain. and violationsofhumandignitywithoutattemptingto que facetsofadailylifeconsistingtorture,abominations A remarkablecinematiccontributionthatshows fiveuni- live normalfear-freeliveseversince. damage tolightthathave madeitimpossibleforthemto psychological examining openwoundsandbringing tains acloseproximity toitsprotagoniststhroughout, This methods. sensitivedocumentarymain- interrogation ofhorrificprisonconditionsand gles withtheregime, speakwithextraordinaryopennessoftheirstrug- subjects areshocking tothecore.The intheGDR incarcerated The fivelifestoriestoldbyformerEastGermancitizens ceration. police–incar- experiences inStasi–EastGermansecret Face theWall · 2010 1 filmsquarterlygerman email: [email protected] · www.stefanweinert.de [email protected] email: 229 44 72-87 phone +49-1 Fehrbellinerstrasse 23·10119Berlin/Germany The Core Weinert Films· Stefan World Sales (please contact) (please portrays five people traumatized bytheir portrays traumatized fivepeople Length Cologne, inco-production withEquinox Productions/Luxembourg 2009). documentary feature documentary and including:theshorts and produce hisownfilms, others. Parallel tohisactingcareer, in2000Weinert begantodirect Patrick Val Swayze, Kilmer, CatherineDeneuve,Tcheky Karyo and productionsbegan actingininternational andhasstarredalongside In2000he andtelevision. he hassinceworked asanactorinfilm returningtoGermany,City, where andViennabeforefinally Geneva York periodstoNew short studiedActing,movingfor sequently opera housesinCologneandVienna,amongothers. Hesub- worked director asanart anddesigner, thenational as wellfor inVienna.HethenmovedtoBarcelona Arts where Applied he of Set&FilmDesignattheAcademy studying to switchperspectives, asastageactorhedecided successfully 22.After working the ageof WeinertStefan FF2009 mentary Cinema Florence 2009,OneWorldKassel Docu- Sofia Stereo German German Rollinger Buergam S. Weinert duction Genre The RightOne Festival Screenings History History ietro Photography Director of 85 min Subtitled Version Production Company 2009 Producer Category Director Format started acting professionally inthetheaterat actingprofessionally started Face theWallFace (2000), Stefan WeinertStefan HDV, color, 16:9 Documentary Cinema Documentary Stefan WeinertStefan Always Sergej English English Doc Review 2009,European Doc Review The Core Films/Berlin& Lars Lenski Lars Lenski ( Gesicht zurWand Sound Technology Co-Producer Screenplay Original Version Samstag Nacht Samstag new german films german new (2002), andthe ero Pro- Year of Editor Ruben Stefan Nick , 53 ietro Photography Director of play Cinema HENRY OFNAVARRE Henri 4 Genre oneofthefirsttruehumanists. claim tobe amonarch whocangenuinely He eventuallybecomes and resortingtoanytacticsclimbhisway tothethrone. change fivetimesinthecourseofhislife,fighting religion Hewill the Louvre,untilheescapesafterfourlongyears. Day Bartholomew’s MassacrebutiskeptSt. prisonerin Henrysurvivesthe endsinaterriblebloodbath. wedding butthe her daughter,Margot,asasignofreconciliation offersHenrythehandof of France.CatherinedeMedici his mother’spowerfulQueen rival,CatherinedeMedici, Paris,theCatholics,andagainst ing hismenagainst the headofProtestantsstandsHenryNavarre, lead- Atland andpower,asjustification. invokingtheirreligion France, 1563. ProtestantsandCatholicsarefightingfor Strang Jackman Wehlisch, AlexanderBerner Paris, B.A. Produktion/Munich, InstitutdelCinema Català/ Company KoehlerHartmut · 2010 1 filmsquarterlygerman hn 4-96 92 6·fx+98-49 720 [email protected]: ·www.bavaria-film-international.com 37 99 +49-89-64 86·fax 26 99 phone +49-89-64 Bavariafilmplatz 7 ·82031Geiselgasteig/Germany Bavaria MediaGmbH·Thorsten Ritter Bavaria of FilmInternational /Dept. World Sales Jo Baier, CookyZiesche,basedonthenovel byHeinrichMann Produced by ero Production Year of Drama, History, Literature Production Design Ziegler Film/Berlin,inco-productionZiegler withGeteve/ Producer Regina Ziegler Regina Ziegler Music by 2009 Cooky Ziesche Gernot Roll Gernot Klaus-Peter Platten,Christian Director Category Executive Producer Hans Zimmer&Henry Jo Baier Editors Production Feature Film Screen- Claus English English cs Schmeide, UlrichNoethen Deutsch, Hannelore Hoger, GabrielaMaria ChloéStefani, Catalunya/Barcelona Paris, ARTE FranceCinema/Paris, ORF/Vienna,Televisió de NDR/Hamburg, SWR/Baden-Baden,WDR/Cologne,France2/ ARTE/Strasbourg, MDR/Leipzig, BR/Munich,Degeto/Frankfurt, Barcelona, Wega Film/Vienna,MMCIndependent/Cologne, ( Stauffenberg TV 1998), Rauhnacht includes: hisaward-winningfilms since 1979.Aselectionof asadirector andhasbeenworking tofeaturefilms before turning in Munich.Hemademore than70documentariesandTVfeatures University and AmericanLanguageStudiesattheLudwig-Maximilian Jo Baier Board (FFA), MFGBaden-Wuerttemberg, MEDIA FederalBrandenburg, FilmFernsehFondsGerman Film Bayern, NRW, Federal German FilmFund(DFFF),Medienboard Berlin- Berlin 2010(BerlinaleSpecial) 2007), and (1991), Nicht allewaren Moerder Original Version Sound Technology Hoelleisengretl was born in1949MunichandstudiedDrama,German was born Wambo er fNavarre Henry of (TV, 1984), (TV, 2004), (TV, 2001), Principal Cast French/German Length Schiefweg (TV, 1994), Dolby SRD With backingfrom All Were NotMurderers Schwabenkinder ( Henri 4 , TV, 2005), 155 min The Store (TV, 1987), Julien Boisselier, Armelle Festival Screenings Subtitled Version , 2009). Format new german films german new Valentin ( Der Laden Wildfeuer (TV, 2002), Filmstiftung HD, color, (TV, , 54

Scene from “Henry of Navarre” (photo © Ziegler Film/Reiner Bajo) Hier kommt Lola! Genre … amysteriousmessageinbottle receives Andinreply,she wish upintothesky,toaballoon. tied Lolasendshergreatest Space Ship,shefinallyhasanidea. Inherhidingplace,theSuperDuper friend business. thisbest todosomethingabout is forsure:Lolaneeds accidentally lockedallday. himinthebathroom Onething hisdaughterhas naked throughtheapartmentbecause stark- at theverymomentwhenLola’sfatherisraging Andthelovelysmells soterriblyoffish. AnnalisavisitsLola new school, however, thereisonlythatweirdFlo,who Atis whatshemissesandwishesformostofall. Lola’s ButLoladoesn’thavefriend–andthat million fans. abest famous singerJacky byseveral Jonesatnight,sheisfeted Andwhensheturnsintothe centimeterstall. only 80 “Victualia” afterPippiLongstocking, andanauntwhois Lola hasaBrazilianfather,motherwhowaschristened fProduction of Halben Vanessa Walder, UschiReich Bavaria Filmverleih-&Produktion/MunichBavaria Susann Bieling Yamamoto, Eduardo Macedo JakobAntoff, · 2010 1 filmsquarterlygerman hn 4-94 46 a 4-94 46 666 [email protected]: ·www.constantin-film.de 60 44 +49-89-44 0·fax 60 44 phone +49-89-44 Feilitzschstrasse 6·80802 Munich/Germany FilmVerleihConstantin GmbH World Sales Children andYouth Editor Producer (please contact) (please Barbara vonWeitershausen 2010 Director Uschi Reich Category ietro Photography Director of Franziska Buch Production Company Feature FilmCinema Principal Cast Production Design Music by Screenplay Year Meira Youki Bella Lola! Die Ordnung derDinge include: Herfilms Wuerttemberg inLudwigsburg. FilmAcademy In 1996,shebeganinstructingScriptwritingattheBaden- asawriteranddirector.Munich. Since1991,shehasbeenworking Television &Filmin of attheUniversity and Romebeforestudying Franziska Buch (FFA), BKM FederalGerman FilmFund(DFFF),Board backing from (TV, 2009), 2008), – Niemandem desParadieses Lage Die ungewisse Braker Durand, FernandoSpengler, JuliaJentsch Version Liebe Liebe und dasGeheimnisderblauenEulen theBlueOwls berg theSecret and of Unsere Mutteristhaltanders and theDetectivesand (2010). Length Froschkoenig (TV, 2005), German German Rosannas TochterRosannas 100 min (1994), Filmfoerderung HamburgSchleswig-Holstein, Angsthasen studied Philosophy andLiterature inStuttgart studied Philosophy Sound Technology Format (TV, 2008), Verschwinde von hier ( Emil unddieDetektive (1987), (TV, 2009),and 35 mm,color, 1:1.85 (TV, 2007), Tod einesIdioten Die Drachen besiegen (TV, 2003), Casting (1993), , 2004), ( Bibi Blocksberg Dolby SR Patchwork new german films german new Hier kommt Bibi Blocks- Mein Herz (1999), Heimliche An Dorthe Original , 2001), (1988), With Emil (TV, 55

Scene from “Hier kommt Lola!” (photo © Constantin Film Verleih GmbH) Original Version Rafael Hilpert Hilpert Rafael Hunger Genre covers them,theyarequickly toreality. broughtback andplay.a worldofgames However whentheirfatherdis- moment theyhave thechance toimmersethemselvesin family. tothedeported and make-up,For belonging a they discover anotherworld;exoticfood,music,clothes Inside apartment. toentertheabandoned left, theydecide Afterthepolicehave tation oftheirimmigrantneighbors. siblingsRolandandPaulThe watch neglected thedepor- Production gestalten/Berlin Gerstenberg, ManuelKinzer Editor Carolina Hellsgård Friese · 2010 1 filmsquarterlygerman hn 4-06 04 0·fx+93-04 832 [email protected] ·www.filmgestalten.euemail: 48 40 +49-30-60 30·fax 48 40 phone +49-30-60 Mittenwalder Strasse 38· 10961 Berlin/Germany Filmgestalten GbR World Sales Production Design Children andYouth, Drama Carolina Hellsgård 2009 Length (please contact) (please Principal Cast ietro Photography Director of German German Director 18 min Music by Subtitled Version Nadin Meister Production Company Carolina Hellsgård Format Robin Laengert, DennisSeiler,Robin Laengert, Category Steffen W.Steffen Scholz,Thomas 35 mm,color, 1:1.85 Producers Short Short English English Manuel Kinzer Screenplay Year of Year Sound Florian Film- Hidden (short, 2004), (short, include: Stockholm andBerlin.Herfilms worksasafreelance director Shecurrently in venues andfestivals. screened have innumerous inLosAngeles.films Arts Hershort the Instituteof theCalifornia for aDAADshe received grant artist asafreelanceassistant.In2008, editorandartist she hasbeenactive inBerlin2007.Since2003, theArts of duated from theUniversity Carolina Hellsgård Awards Filmwinter2010 2009,Glasgow2010,Stuttgarter MAGIC Belfast Bangkok FilmFestival 2009,CINE- 2009, LeedsThaiShort Paris Bern Devant 2009,ShnitShort Courts 2009,MolodistKiev Festival Screenings Berlin-Brandenburg, BKM,Kuratorium jungerdeutscherFilm Technology (short, 2009),and (short, Special Jury MentionRio2009 Special Jury Dolby Digital Thirst Oberhausen 2009,HuescaRio was born in1977Stockholm.Shegra- was born (short, 2006) (short, Hunger With backingfrom (short, 2009). (short, Karaoke Thicker Water Than new german films german new (short, 2008), (short, Medienboard 56

Scene from “Hunger” (photo © Filmgestalten/Luci&Coma) ietro Photography Director of The Hunter duction Genre difficult todefine… becomes hunterandhunted cate andthelinebetween policemen losetheirwaySituationscompli- inthewoods. tohisfateandwatchesis resigned quietlyasthearguing Ali bytwopoliceofficers. ern forestwhereheiscaptured carchase outsideoftown,intothenorth- speed Aliflees Afterahigh- Ali randomlyshootsandkillstwopolicemen. daylight, overlooking thebusycity’ssurroundinghighways, ter endsinhorrorandpusheshimoverInbroad theedge. station, Ali’sown search forhismissingsix-year-old daugh- Afteralongandfrustratingexperienceatthepolice tors. inapoliceshoot-outwithdemonstra- accidentally killed forest northoftown.Tragedy strikes andAli’swifeSarais retreats tohisfavorite pastimeofhuntinginthesecluded young daughter. To living,Ali escapethestressofurban wifeand spend themosttimepossiblewithhisbeautiful promises ofchange. Despiteworkingnights,hetriesto return, amidstmuchand talkoftheupcomingelections fromprison,Alimakes released themostofhis Recently Hassan Hassandoost · 2010 1 filmsquarterlygerman hn 4- 153 09 a 4- 153 0910 70 39 [email protected]: ·www.the-match-factory.com 21-5 +49-2 90·fax 70 39 21-5 phone +49-2 Balthasarstrasse 79-81 ·50670Cologne/Germany GmbH· Michael WeberThe MatchFactory World Sales Drama 2009 Category Director Production Design Feature FilmCinema Rafi Pitts Rafi Mohammad Davudikhaki Mohammad Davudikhaki Screenplay ero Pro- Year of Malak Khazai Rafi Pitts Rafi Editor Subtitled Version min Hajiar, SarahKamrani, SulmazAmiri,HosseinNikbakht ZDF/Mainz, ARTE/Strasbourg produktion/Berlin, AftabNegaran/Tehran, inco-production with Pitts Rafi Producers short, short, inFilmandPhotography.Central Londonwithadegree Hisfirst in1991from HarrowCollege–PolytechnicBritain. Hegraduated of studio. to DuringthewarbetweenIranandIraq,in1981, hefled in Tehran, apost-production underneath inabasementflat living Pitts Rafi Fund backing from SR-D His film (2000) washailedbytheFrench criticsas“theIranian in1979,andpremieredIranian Revolution inVenice. Five feature, DoillonandJean-LucGodard.Jacques Hisfirst worked variousdirectors, asanADfor amongthemLeosCarax, Inthe90’s, FilmFestival. International Pittsmovedto Paris and Format Festival Screenings (1997), was the first Franco-Iranianco-production sincethe (1997), wasthefirst In Exile It’s Winter It’s Production Companies was born in1967Iran,wherewas born hespenthischildhood Thanassis Karathanos, MohammadRezaTakhteshian, 35 mm,color, 1:1.85 (1991), waspresented thesameyear attheLondon Medienboard Berlin-Brandenburg,World Cinema English English (2006) premiered inBerlin. Sound Technology Berlin 2010(InCompetition) Principal Cast Twenty Twenty VisionFilm- Original Version new german films german new Rafi Pitts, Mitra Rafi Dolby Digital Length 400 Blows Season Sanam With Farsi 92 ”. 57 Scene from “The Hunter” (photo © Maryam Takhtkeshian/ Twenty Twenty Vision Filmproduktion GmbH) Principal Cast duction Company Cinema Design Essel Photography Director of Philipp Stennert Philipp Stennert Jerry Cotton Genre –hisnewpartnerPhilDecker. and–ofallpeople 38, JaguarE-Type,only alliesarehisred hisSmith&Wesson andfindtherealmurdererassoonpossible.Jerry’s gang, track downKlausSchmidt gangster andhis at theFBI, forJerry:hehastogetawaybegins fromhisown people Conroy time togetridoftheonlywitness?Araceagainst partnerTedhaul? AnddidhereallymurderhisFBI guiltyoftheStatesUniongold prove boss thegangster unableto shoot SammySerranoinrevengeafterbeing Zanuck, himofdoublemurder. hasaccused DidJerry Cotton isatrisk:theHeadofInternalAffairs,DarylD. The faultlessreputationofNewYork agentJerry FBI · 2010 1 filmsquarterlygerman hn 4-94 46 a 4-94 46 666 [email protected]: ·www.constantin-film.de 60 44 +49-89-44 0·fax 60 44 phone +49-89-44 Feilitzschstrasse 6·80802 Munich/Germany FilmVerleihConstantin GmbH World Sales Music by ero Production Year of Action/Adventure, Comedy Action/Adventure, Comedy Matthias Muesse (please contact) (please Helmut Zerlett, Christoph Zirngibl Helmut Zerlett,ChristophZirngibl Christian Tramitz, ChristianUlmen,MonicaCruz, Screenplay Rat PackRat Filmproduktion/Munich Producer Torsten Breuer Cyrill Boss, PhilippStennert 2010 Category Directors Christian Becker Editor Production Feature Film Cyrill Boss, Stefan Pro- Wixxer-trilogy, andtheromanticremake comedy of on working are currently ( the TVseries togetherasawritinganddirectingbeen working duo, beginning with the Baden-Wuerttemberg FilmAcademy. have Since2000,they Stennert the Baden-Wuerttemberg inLudwigsburg. FilmAcademy Cyrill Boss FederalBrandenburg, German FilmBoard (FFA) sehFonds BayerischerBankenfonds, Bayern, Medienboard Berlin- (DFFF), FilmfoerderungHamburgSchleswig-Holstein,FilmFern- Dolby SR mm, color, cs Maerchenstunde Kaufmann Isabelle Rentinck,AnnaJuliaKapfelsperger, Tim Sikyea, Guenther Tarrach, JoramVoelklein, Knaup, Herbert Lara- ManouLubowski, Heino Ferch, ChristianePaul, MoritzBleibtreu,Rieke, Janek Juergen Neues vom Wixxer Casting With backingfrom was born in1974GoettingenandstudiedDirectingwas born at Original Version was born in1974MunichandstudiedDirectingwas born at . Their films togetherinclude: . Theirfilms Was passt,wird nicht passendgemacht Emrah Ertem Emrah Ertem , 2007)and Triple Wixx German German Length Jerry Cotton German FederalGerman FilmFund h hr ato the , thethirdof part Sound Technology 95 min new german films german new The Vexxer Dr. Mabuse Format (2010). They Philipp and 35 . 58

Scene from “Jerry Cotton” (photo © Constantin Film Verleih GmbH) Keep Surfing the Munich riverwave. Ross ClarkJonesandTaylor Knox havetheirluck tried on self.and toabetter Butalsosurflegendslike Kelly Slater, whom riversurfingisaway totherootsof surfing back thelocalcommunityissurfpunkEliMack,who joined for Amongtheforeigners the wave whereeverythingstarted. forMunich,whenhereturnsto heart stillbeats especially nomad–eventhough his asurfproandglobal become andhas riding theMunichboard riverwave onaboogie whostarted generation isgoldenboyQuirinRohleder, totheyounger Belonging near asmallbeachonSardinia. now livesasakindoflonewolfanddidgeridoomaker way hoursaday tokeepthewavefor24 andwho surging Eisbach,” aworking-classphilosopherwhodiscovered two grown daughters;andWalter, the“janitorof andstillridesthewavesthe late60s everyday withhis Eater,” whowasamongthefirsttodiscover riversurfingin vidual goalsinlife.AmongtheolderguysisDieter“The who mastertheriverwaves whilepursuingtheirown indi- Keep Surfing by ridingariverwave farfromtheocean. individualistswhopursuetheirdreamofhappiness urban thehomeofasurfingcrowdpretzel lovers,of hasbecome City.Oktoberfest Munich,drinkers thetownand ofbeer place thatalargepartoftheworldonlyknows as Keep Surfing · 2010 1 filmsquarterlygerman hn 4-96 46 0·fx+98- 34 888 98 ·www.betacinema.com [email protected] email: 46 73 +49-89-6 80·fax 69 34 phone +49-89-67 Gruenwalder Weg 28d·82041Oberhaching/Germany BetaFilmGmbH· Andreas Rothbauer of Beta Cinema/Dept. World Sales portrays sixsurfersoftheEisbachhardcore, tells thestoryofanunlikely passionina Keep Surfing is anodetoindi- Wesolek, whorealized theproject Paul abouttheconceptualartist In 2009heshotadocumentary footage. surf Ofs,Making andproduced aconsiderableamountof ries ( epic atlocationsallovertheworld. thissurf material for and powerful to collectingthemostgripping thepasttenyears of part agreat Royal DanishBallet.Lobdevoted short films ( films short and cameraoperatorsince2000.Inadditiontoshootingseveral Bjoern RichieLob Board (FFA) backing from Munich 2009 Sound Technology Version Length mdts/Munich, inco-production withDIEBASISberlin/Berlin Siebert Music by RichieLob Lars R.Liebold,Bjoern Richie Lob, BenjaminQuabeck duction Genre and findtheirplaceinlife. piness onariverwave,theflow wheretheycangoagainst who’veachievedhap- andtothepeople vidual freedom Allein Sports Sports Production Company 2009 92 min German/English/French German/English/French Philip Stegers Sonnensurfer ,h a lofle ubro ufvideosand surf anumberof ), hehasalsofilmed Awards Category Director FilmFernsehFonds Bayern, German FederalFilmFernsehFonds German Film Bayern, Format has beenafreelance director, photographer Producers Dolby Digital Audience Award Munich2009 Bjoern RichieLob Bjoern Documentary Cinema Documentary , 35 mm,color, 1:1.85 Schwarzfahrt ietr fPhotography Directors of La Sylphide–StillLife Subtitled Version Editor Bjoern RichieLob,Bjoern Tobias N. Festival Screenings pipeline pictures & Screenplay Benjamin Quabeck ) anddocumenta- new german films german new ero Pro- Year of Original with the English Bjoern With 59

Scene from “Keep Surfing” (photo © pipeline pictures) German German Length Juenger, Kante, Eddy RosalieThomass RBB/Potsdam-Babelsberg "Konrad Wolf"/Potsdam-Babelsberg, inco-production with Production Company duction Design Florian Schewe OUTSIDE Lebendkontrolle Editor Production Genre for. morethanMarkhadbargained dom turnsouttobe todohimthefavor.agrees Butasmalljourneyintofree- boxer askshimtotakeMark careofsomethingforhim. ageing formerboxer. When Markgetsleave oneday, the 32-year-old Hisprisoncellroommateisan Markisinjail. German Cinema) German Dolby SR · 2010 1 filmsquarterlygerman hn 4- 162 56 a 4- 162 568 25 [email protected] ·www.hff-potsdam.de email: 20 31-6 +49-3 64·fax 25 20 phone +49-331-6 Marlene-Dietrich-Allee 11·14482Potsdam-Babelsberg/Germany FilmundFernsehen “KonradHochschule fuer ·Cristina Wolf” Marx World Sales Drama 30 min Subtitled Version Clemens Walter Festival Screenings 2010 (please contact) (please ietro Photography Director of Format Category Claudia Barthel Claudia Barthel Director Principal Cast Super 16,color, cs Hochschule fuer FilmundFernsehen Hochschule fuer Music by Feature FilmCinema English English Florian Schewe Florian Schewe Producer Casting Berlin 2010(Perspectives Daniel Dickmeis Sound Technology Gerdy Zint,Franziska Original Version Christiane Dorandt Luisa Korsukewitz Yannick Bonica Screenplay Year of Year Pro- mentary, 2008),and 2006), short, (documentary His films include: His films FilmandTelevision Directing. ”tostudy “Konrad Wolf of University inBerlin,heenrolled tothe Sciences atHumboldtUniversity Florian Schewe Moharram was born in 1978 in Berlin. After studying Social in1978Berlin.Afterstudying was born Outside Tim ( Lebendkontrolle (documentary, 2005), (short, 2007), (short, Amiland new german films german new , 2010). Tohuus (docu- 60

Scene from “Outside” (photo © Alexander Janetzko) MEN INTHECITY Maennerherzen have totake onacrocodilesingle-handedly! that youhave tofightforthewomanyoulove. Evenifyou woman toanother,untiltheylearnaveryvaluablelesson: stumble fromonemisadventuretoanother, often intolerable–askthemselvesthisquestionasthey Are menthestrongsex?These five–sensitive,vulnerable, What sharearewomenproblems. theyboth ace. NiklasisanadvertisingandPR health-food restaurant. jobandwantstoopen a fromhistrainee fired has been Philip,theeternalstudent, Niklas areastudyincontrasts. Theemotions whileworkingout. twopalsPhilipand Roland keepstohimselfandscreamsouthisrepressed Anotherdenizenofthegymclub, how women. toseduce tipsfromhisgymacquaintanceon Gunther, whocollects Theing outforsuccess. veryoppositeofJeromeis absliterallyreach-male, oozingself-assurance, hissteeled Jeromeisthealpha the womenwhoentertheirorbit. betray,leaveto talkup,seduce, and,maybe,reunitewith ataBerlingym,themenswarmoutintobigcity base” Fromtheir“home ofthem. man, andwhatwomenexpect a men aren’treallysureanymorewhatitmeanstobe Five meninsearch oflove andhappinessinatimewhen · 2010 1 filmsquarterlygerman hn 4-96 46 0·fx+98- 34 888 98 ·www.betacinema.com [email protected] email: 46 73 +49-89-6 80·fax 69 34 phone +49-89-67 Gruenwalder Weg 28d·82041Oberhaching/Germany BetaFilmGmbH· Andreas Rothbauer of Beta Cinema/Dept. World Sales Men intheCity Showcase WinnersatNYUFilmFestivals.After and Genre Stefan Essl Stefan Simon Verhoeven Production of Dihrberg Pallaske, Til JustusvonDohnányi, Schweiger Fitz,LianeForestieri,Moehring, FlorianDavid MaximMehmet,Jana Principal Cast Production Company Thomas Stammer videos and short films, including: films, videos andshort (1999) and Vasilisa Mutters Courage including: numerous andfeaturefilms, television York. inNew theArts Hehasappeared in at theTisch Schoolof MusicinBostonandFilmDirecting Collegeof Film MusicatBerkley Performing York, attheLeeStrasbergTheaterInstituteinNew Arts Simon Verhoeven Film Fund(DFFF),BKM FederalBrandenburg, German FilmBoard (FFA), Federal German nology Version Nice MeetingYou (1998), Romantic Comedy Romantic Comedy Dolby Digital Length German German rd ftheWind Bride of Music by Star (1994) – for whichhewrote(1994) –for variouscompositions, 2009 ietro Photography Director of 107 min Subtitled Version Producers Christian Ulmen,NadjaUhl,Wotan Wilke (2009) ishissecondfeature. With backingfrom Director was born in1972Munich.Hestudied was born Simon Verhoeven Category Format (2000). Hehasdirectedmusic several (1999), Wiedemann &BergFilm/Munich 19) l he fwhichwere (1999), allthree of Water Quirin Berg,MaxWiedemann Simon Verhoeven Abgedreht 35 mm,color, cs Feature FilmCinema English English Production Design (1997), Medienboard Berlin- (1999), 100 Pro Jo Heim new german films german new Sound Tech- Casting Partygirl Phone Screenplay Vino Santo Original Editor (2001), (1993), (1997) Year Anja 61

Scene from “Men in the City” (photo © Warner Bros. Entertainment) Mein Kampf Vienna in1987. found itsway ontostagesworldwidesinceitspremierein on thefable-like theaterplayTabori, byGeorge which has The grotesquenessof bittersweet which isknown foritsviolentaction. theheadofalocalradicalgroup, long andHitlerbecomes gests toHitlertryhisluckItdoesnottake inpolitics. Ironically, itistheJewishmanSchlomo whofinallysug- over hisignominyandwantstoputlifeanend. Havingapart. lostallfaithinhisfuture,Hitlercannotget overestimated hisartisticabilitiesandlittleworldfalls rival oftheAcademy’sitturnsoutthatHitler rejection, SchlomoWithwith theJewishbook-seller Herzl. thear- homeless andwaitsforhisbigday. Heshareshisroom young artistrentshimselfapoorroomathomeforthe wants toprove histalentattheAcademyThe ofFineArts. Aiming toconquertheworldasafamouspainterhe Austrianin thedeepest province andtravels toVienna. In theyear · 2010 1 filmsquarterlygerman email: [email protected] · www.telepool.de [email protected] email: 29 62 87 +49-89-55 60 ·fax 87 phone +49-89-55 Sonnenstrasse 21·80331Munich/Germany TELEPOOL GmbH·Irina Ignatiew World Sales 1910 1910 young Adolf Hitlerleaves hishometown Mein Kampf is based as wellnumerous TVmovies. (1993), Glueck Gekauftes includes: his films Zebrowski. Aselectionof andEdward Kieslowski Directing andScriptwritingwithKrysztof andthetheatersince1983afterstudying television infilm, working Urs Odermatt Kultur,Bundesamt fuer ZuericherFilmstiftung, AargauerKuratorium MEDIA,OesterreichischesFilminstitut,BAKIBH HessenInvestFilm, FederalMitteldeutsche Medienfoerderung,German FilmFund(DFFF), Federal FilmBoard (FFA), BKM,Medienboard Berlin-Brandenburg, Cinema) Berlin 2010(German 2010, 2010,Solothurn Montreal FilmFestival 2009,AtlantaJewish English Production Year of Genre Music by Photography of color, 1:1.85 Vienna, Hugofilm Productions/Zurich Vienna, Hugofilm Company Producers Producers Schwarz, AnnaUnterberger Neuhaeuser, Paul HenningPeker, ElisabethOrth, Matic, Simon Bachofner, Birkhahn,Karin Bernd George, Tom Schilling,Wolf Sound Technology Der BoeseOnkel Drama, History, Theater Enis Rotthoff Schiwago Film/Berlin,inco-production withDorFilm/ Martin Lehwald,MichalPokorny,Martin Marcos Kantis Original Version an ruz hitfNeracher Krausz,Christof Danny was born in1955Switzerlandandhasbeen was born Jo Molitoris 2009 (1988), Production Design Length Director (2006), and Editors Dolby SR With backingfrom Category Wachmeister Zumbuehl German German 109 min Principal Cast Urs Odermatt Urs Odermatt Lilo Gerber, ClaudioCea Mein Kampf Festival Screenings Subtitled Version Feature FilmCinema Rotlicht! Format new german films german new Carola Gauster Production Director 35 mm, (2009), (1986), German Goetz Co- 62

Scene from “Mein Kampf ” (photo © Jasmin Morgan/Schiwago Film 2009) MOSCOW’S NEWNUNS Die neuenNonnenvonMoskau Producer Yoliswa Gaertig Screenplay Production Year of Genre asaprison. the KGB by wasused FortheAbbey of theKreml. manydecades, The IwanowinMoscow Abbey iswithinastone’sthrow country. insightinthesocietyandcultureofthisfascinating a deep different pictureofRussiathatbreaksclichés andprovides The veryuncommonlivesofthefiveprotagonistsdraw a times ofchaos anddepression. rootsafter that returnstoitsculturalheritageandreligious Russia,one department forPhilips,alldreamofabetter andJulia(38),toworkinthemanagement (26), whoused ElisawetaphilosopherGalina(37),tect (66), lawyer Olga Iwanow Abbey. FormerNikolaya archaeologist (62), archi- War tocommitthemselvesasnunsandtherevivalof lifeintheaftermathofCold who gaveuptheirsecular generations, five remarkableRussianwomenfromthree · 2010 1 filmsquarterlygerman hn 4-044 37 a 4-04 73 77 [email protected]: ·www.telekult.de 37 67 +49-30-44 76·fax 73 46 phone +49-30-4 Kremmener Strasse 6·10435Berlin/Germany telekult Film-undMedienproduktion GmbH·Heike Kunze World Sales History, Religion,Society Heike Kunze Beate F. Neumann Editor (please contact) (please Moscow’s NewNuns Yvonne Loquens 2009 Commissioning Editors Director ietro Photography Director of Category Music by Beate F. Neumann Documentary TV Documentary is thestoryof elfSchitto Detlef Ulrike Length burg, WDR/Cologne,incooperationwithARTE/Strasbourg und Medienproduktion/Berlin, inco-production withNDR/Ham- Dotzer, AngelikaWagner Schatten derMauer Drahtseil durch dieJahrhunderte Versions sion Collage geritten HaraldFuessler Abspann: includes: herfilms nar withDonBohlinger. Aselectionof bytheMasterSchoolDrehbuchberg, followed scriptwritingsemi- Film&Television inPotsdam-Babels- of ”University “Konrad Wolf Buschactingschool,shestudiedDirectingnar attheErnst Beate F. Neumann Nonnen von Moskau series, 2006),and Zeit nachderTrauer Antonia imWunderland (1996), Russian/German Russian/German Weimarer Werte –heute? 93 min (short, 1991), (short, (short, 1987), (short, French, German Format Moscow’s Nuns New was born in1966Rostock.Afterasemi- was born Maquillage Subtitled Version Kellerasseln (short, 1990), (short, , documentary, 2009). Production Company (2003), DigiBeta, color, 1:1.78 Sound Technology (short, 2001),herfeaturedebut (short, Strasse Brasil (short, 1987), (short, (short, 1993), (short, Nora –eineszenische (short, 1989), (short, (TV documentary, 1999), (short, 1989), (short, English English Original Ver- new german films german new Vom Teufel ( Stereo Die neuen (documentary Unterwegs telekult Film- u dem Auf Dubbed Nie im Im 63 Scene from “Moscow’s New Nuns” (photo © telekult Film- und Medienproduktion GmbH) On theOtherSideofLife pieces between tradition andmodernity. between pieces thefutureofanAfricaground to discourseabout ranging afar- rises aboveasocialenvironmentstudytobecome Through acleverdramaticnarrativestructure,thefilm Whatsqualid suburbs. theirpackage willbe inlife? their successorshave onlyatinychance ofescapingthe stillhavepeople thesenseofhonorAfricantradition; The painfullyobvious. old the generationsbecomes calls foritsownTheriftbetween gesturesandrituals. deep The brothersmovecultures,each throughthree ofwhich them –aninitiationofadifferentkind. awaits somethingspecial Outonbail, of survivalinjail. Amatter who mayattackedserved. be andwhomust ofthehierarchy.at thebottom They mustlearnquickly therulesthere.Noquestion,newcomersarealwaysabout The firstthingtheygetinprisonisanunmistakablelesson accusation ofmurder. thefoodandnow evenan share everything:thebed, least theirgrandmotherisonside.The twobrothers mother doesnotpay much attentiontohersons,butat how topickandhowTheir upgirls togetridofthem. lessons early:wheretogetdrugs,money, To surviveinaCapeTown township,their theylearned coolandintheknow.Lucky pretendtobe andBongani · 2010 1 filmsquarterlygerman hn 4- 772 48,+917- 51 1·fx+91 355 03 66 36 80 51 03-5 +49-18 61·fax 13 95 [email protected]·www.brockhauswolff.com [email protected]; email: 72-8 85,+49-1 44 22 77-7 phone +49-1 Milchstrasse 11·81667Munich/Germany Brockhaus/Wolff World Sales (please contact) (please Genre Stefanie Brockhaus, Wolff Andy Stefanie Cinema mentary mentary, Brockhaus). 2010,inco-direction withStefanie Life Other Sideof the Other Andy Wolff mentary, 2010,inco-directionWolff). withAndy te ieo Life Other Sideof Child Within Brockhaus Stefanie Technology English/Xhosa English/Xhosa 87 min Principal Cast Television &Film/Munich of tion withBR/Munich,University Production Company WolffAndy Tortora WolffAndy WolffAndy Music by Format Coming-of-Age Story, Drama,Society ietr fPhotography Directors of (short, 2006), (short, Editors ’s include: films Commissioning Editor Stereo &5.1Surround Subtitled Versions ( Lucky Nxele, BonganiNxele, ElsieNxele Das Kindinmir HDCamSR, color, 1:1.78 ero Production Year of Zola, DJCleo ( ( Die Andere SeitedesLebens Die Andere SeitedesLebens Stefanie Brockhaus, Wolff, Andy Stefanie Ulrike ’ films include: ’ films Brockhaus Wolff/Munich, inco-produc- Son Lost Resonance Screenplay Producers , short, 2008),and , short, (short, 2006),and (short, JAM English, German German English, (2000), Original Version Natalie Lambsdorff (short, 2005), (short, Stefanie Brockhaus, Stefanie Stefanie Brockhaus, Stefanie Stefanie Brockhaus, Stefanie Category 2010 new german films german new One Way or Directors On the Length On the Sound , docu- , docu- Docu- The 64

Bongani & Lucky (photo © Pieter Hugo) song. self-realizationinglorious for recognition, andequality” ofAfrican-Americanartists captures “thepassionatebattle and Bess byVerdiAs timelessasanythingpenned orPuccini, stoppers such as throughoutthefilmareshow- Embedded whelms. Despite theattendantcomplexities,musicover- that But intheblack community,thecommonperceptionis Terry performingPorgy Cookhasbeen fortenyears. Lee black singershavetwiceasgoodwhitesingers. tobe bymanyisthat Asentimentvoiced many castmembers. animpossibledreamfor come anoperasingerseemed and violenceacommonexperience,theambitiontobe- Growingly personalconversations. uppoor,withdrugs inaseriesofdeep- ences ofindividualsingersarerevealed theoperaandreallifeexperi- the parallelsbetween Austrians,from citytocity,attractingstaresstartled AsthetroupetravelsEuropean tourofGershwin’swork. the castofNewYork HarlemTheatre ontheir stirringdocumentaryfollows SusannaBoehm’s subject. one oftheveryfewworksthattakescolorasits people PORGY &ME–INTHEWORLDOFGERSHWINS’ Porgy &Me nately celebrated andcontroversialnately celebrated opera Gershwin’salter- In the(white)worldofopera,George · 2010 1 filmsquarterlygerman hn 4-08 52 0·fx+93-14 955 ·www.boomtownmedia.de [email protected] email: 29 45 +49-30-81 50·fax 29 45 phone +49-30-81 Fuggerstrasse 33 ·10777Berlin/Germany Boomtown MediaInternational GmbH&CoKG ·Uwe Dierks World Sales Porgy andBess is a quintessentially American masterpiece that is aquintessentiallyAmericanmasterpiece (please contact) (please It Ain’tNecessarilySo is agraveyard forsingersofcolor. and Porgy andBess InderWelt vonGershwins – Summer Time Porgy is . Company Uwe Dierks, ThomasGrube,Andrea Thilo debut. was broadcast throughout Europe. Nouveau documentary Her first documentaries. art director of her debutasascriptwriterandfilm Berlin, Hamburg,Munich,Leipzig, andBregenz. In2004 shemade worked inoperasandtheatersCairo, Houston, Washington, opera setandcostumedesignerinItaly, and theUSA andGermany Boehm Susanna Film Fund(DFFF) FederalBrandenburg, German FilmBoard (FFA), Federal German Molodist Kiev 2009 Molodist Kiev 2009,SãoPaulo 2009, Vancouver 2009,CambridgeHof Sound Technology min WilliamBarkhymer Smith,MarjorieWharton, Jermaine Echols, Jacqueline JustinMiller,Devaughn, JolieRocke Brown, Papperitz Editor Susanna Boehm Production of Genre Format Art, Family,Art, Music George Cragg Original Musicby was aproductionNDR/ARTE for andCzechTV Boomtown Media/Berlin 35 mm,color, 1:1.85 Director of Photography Photography Director of 2009 With backingfrom received herprofessionaleducationasan received lhneMca–Vsoayo Art Alphonse Mucha–Visionaryof Director Dolby Digital Music by Category George Gershwin Susanna Boehm Porgy &Me With Original Version Documentary Cinema Documentary PORGY ANDBESS Bela Brauckmann,Gunter Festival Screenings Terry Cook,Alteouise Medienboard Berlin- Porgy andBess new german films german new Philipp Tornau Production is hercinema Screenplay Producers Length English Year 86 65

Scene from “Porgy & Me” (photo © Boomtown Media) THE JOURNEYTO METROPOLIS Die Reisenach Metropolis attempted tocompleteit. attempted waysalso theoftencomplicated inwhich expertshave picts thegenesisofworld-famouscinematicclassic,but including Berlin,Moscow, BuenosAiresandParis.Itde- The film foundoneday.being in 2001, onthemissing parts certainlynoonecounted restoration bytheFriedrichWilhelm MurnauFoundation ofMET ferent negatives dif- inthiscase,whentherearethree exactly istheoriginal ofMET the“original” to reconstruct everyambitiousfilmarchivist’s self-imposedtask became It copiesofthepremiereversionhadsurvived. of the40 soonafteritspremiere.Notone cutandmutilated been Aworld-widesensation,forthefilmhad in BuenosAires. delCine upintheMuseo plete versionofthefilmturned a16In summer2008, ofanear-com- mmdupenegative Worldclared CulturalHeritagebythe German filmhistory. de- Anditwasthefirstfilmtobe is METROPOLIS · 2010 1 filmsquarterlygerman hn 4-959 85 a 4-95 88 20 [email protected];email: ·www.transitfilm.de [email protected] 85 98 +49-89-59 50·fax 88 99 phone +49-89-5 StrasseDachauer 35·80335 Munich/Germany Transit FilmGmbH ·Loy W. Schumann Arnold,Susanne World Sales The JourneytoMetropolis probably themostimportantworkin probably ROPOLIS? After thecomplicated ROPOLIS. UNESCO. is setinlocations But what Metropolis 2005), 1944? Juli gen Russland Endstation Freiheit. undSchreiben Leben imheuti- 1953 Der17.Juni Helden ohneRuhm. includes: his films historianandfilmmaker. critic, a film Aselectionof as VGIK. inGermany academy Since1990hehasbeenworking film Artem Demenok French 16:9 Screenplay Production Year of Genre and Die GebruederGrimm –Woertersammler derSpur Dem Panzerkreuzer Potemkin auf Lang Dmitriev, Paula Félix-Didier, FernandoPeña, FrankStrobel, Fritz With baden, SWR/Baden-Baden,incooperationwithARTE/Strasbourg co-production Foundation/Wies- withFriedrichWilhelmMurnau Loy W. Arnold Michael Boomers, OlegStinski Length Original Version The JourneytoMetropolis Sound Technology Deutsche Lebenslaeufe: FritzDeutsche Lebenslaeufe: Lang Enno Patalas, Wolfgang Koerber, Klaue,Martin Vladimir Art, Education, Film History Education,FilmHistory Art, , TV, 2010). (TV, 2004), 43 min,52ca.70min Artem Demenok Artem Production Company (TV, 2003), was born in1962andstudiedattheMoscow was born German German Welthauptstadt Germania 2010 Was wirklich20. geschah am Stereo Editor ietr fPhotography Directors of Subtitled Versions Director Category Format Michael Auer Transit Film/Munich,in ( Die Reise nach Artem Demenok Artem Documentary TV Documentary new german films german new HD, color/b&w, (TV, 2003), (TV, 2007), Producer (TV, 2009), (TV, 2007), English, (TV, 66

Scene from “The Journey to Metropolis” (photo © Transit Film GmbH) Résiste! Aufstand der Praktikanten RESIST! INTERN REBELLION Scene from “Resist! Intern Scene from Rebellion” (photo © Schmerbeck Filmproduktion)

The capitalistic yuppie Till and the leftist activist, half- duktion/Ludwigsburg, in co-production with Hochschule fuer Film French Sydelia are both fighting for their beliefs. While Till und Fernsehen “Konrad Wolf ”/Potsdam-Babelsberg, in coopera- has just become boss of his own intern consulting com- tion with Bunt Film/Berlin Principal Cast Katharina pany and is filling a lucrative market niche, Sydelia decides Wackernagel, Hannes Wegener, Devid Striesow, Michael Kind, to free him from the capitalist world by revolutionary Sabine Wackernagel, Christof Wackernagel Length 93 min means. But could these two opposites really become Format 35 mm, color, 1:1.85 Original Version German attracted to one another? The battle between true ideals Subtitled Version English Sound Technology Dolby Digital and absolute love is on. The tip of the iceberg is to be a Festival Screenings Hamburg 2009, Biberach 2009, Luenen country-wide general intern strike, one that will cripple the 2009 With backing from Medienboard Berlin-Brandenburg, country. MFG Baden-Wuerttemberg

Resist! Intern Rebellion is an entertaining, headstrong, Jonas Grosch was born in 1981 in Freiburg and studied revolutionary, unpolitical romantic comedy in the times of Comparative Literature and Philosophy at the University of “generation intern”. Giessen. Since 2004, he has been a student at the University of Film and Television “Konrad Wolf ” in Potsdam-Babelsberg. His films Genre Romantic Comedy Category Feature Film Cinema Year include: Dinner with the Devils (short, 2001), La vie est of Production 2009 Director Jonas Grosch Screenplay dure sans confiture (short, 2005), Bonnie & Veit (short, Jonas Grosch Director of Photography Matthias Hofmeister 2005), White Man with Black Bread (Der Weisse mit Editor Christoph Lumpe Music by Dirk Leupolz & The Busters dem Schwarzbrot, 2007), Am Anfang war das Licht Production Design Harry Rischmueller Producer Till (2007), and Resist! Intern Rebellion (Résiste! Aufstand Schmerbeck Production Company Schmerbeck Filmpro- der Praktikanten, 2009).

World Sales ARRI Media Worldsales · Antonio Exacoustos Tuerkenstrasse 89 · 80799 Munich/Germany phone +49-89-38 09 12 88 · fax +49-89-38 09 16 19 email: [email protected] · www.arri-mediaworldsales.de german films quarterly new german films

1 · 2010 67 IN WHAT WETRUST –ANEXPEDITION INTO THERIDDLESOFMONEY Der Schein truegt over ourmoney.” Economy putshisfingeronit:“We havepower toregain Paul ofSolidarity-Based Singer,Brazil’sStateSecretary thanitscounterpart. function, itoftenfunctionsbetter ter aflourishingeconomy. Self-printedmoneydoesn’tonly thispoorquar- homemade currency,thepalmas,hasgiven in afavelaofBrazil’sFortaleza.Asecond, ontheedge realized Hisvisionisbeing monopolistic monetarysystem. withinthe challenges solved tohumanitycannotbe thatthecurrent BernardLietaerisconvinced ters offaith. Andnowonder.ogy anddiscoversaremat- religion. Both The Jochen philologist Hoerischfinancialterminol- dissects have noworth. itsvalue:Ifeveryonehadenoughmoney,itwould tees tially andtakes itsvaluefromscarcity. Poverty guaran- fromnothing,multipliesexponen- no value.Itiscreated substancethatcanmeananythingandyethas A magical Lietaer. “Itturnsthemindintoapretzel.” mer centralbankerandmoneyresearcher, Bernard brilliantandfatal,says inventionisboth for- consequential transform anythingintoelse.Humanity’smost or weapons,thealchemicalmoneycan substancecalled In moneyallthatissolidmeltsintoair. Beitsex,potatoes · 2010 1 filmsquarterlygerman email: [email protected] ·www.denkmal-film.com [email protected] email: +49-89-52057752 phone +49-89-52057712· fax Schwindstrasse 2·80798Munich/Germany StrigelDENKmal FilmGmbH·Claus World Sales (please contact) (please Hasenbergl Runaway matsch! including: award-winning films, Verhaag.Film withBertram Hehaswrittenanddirected over50 Pedagogy andCommunications.DENKmal- In1976,heco-founded 11andstudiedPsychology, onSuper8attheageof films first StrigelClaus pedition What We Trust nology Version Length Munich, 3sat/Mainz Company Genre duction Wolfgang Neumann raphy Society Waldemar Hauschild Stereo , 1983), 2009 German German 98 min (2006), (1992), DENKmal-Film/Munich, inco-production withBR/ (2002), Category Director With backingfrom – Eine Expedition in die Raetsel desGeldes indieRaetsel – EineExpedition was born in 1955 in Munich. He began making his in1955Munich.Hebeganmaking was born Moon SunF Subtitled Version Format Nuclear Split Nuclear Special Effects (2009), amongothers. The Last Man AliveThe LastMan Producer nteBc fBeyond In theBackof Claus Strigel Documentary Cinema Documentary HD Cam,color, 16:9 Editor Too MuchMan! lower Game Claus Strigel Marcus Gruber, AnitaCosic ( Spaltprozesse FilmFernsehFonds Bayern ietro Photog- Director of Julia Furch English English (2000), new german films german new Sound Tech- ero Pro- Year of (2008), and Production Music by (2003), ( Original echt tu , 1987), Planet X- In 68

Scene from “In What We Trust” (photo © Katharina Woll) i cont eescedrWelt THAT der FUNNYOLDGAME Nebensache schoenste Die for winningthe1989 World Championship. set themwithacoffee nal women’steam–andpresented The theirfirstnatio- GermanFootballAssociationfounded Finally, inthe1980s women’ssoccerhaditsbreakthrough. officials sinceitwasnotanOlympicdiscipline. byGDR women’s soccerwasdemonstrativelyignored –despitethefactthat clubwasfounded Germany’s best Itwasherethat play inclubs–alsotheformerGDR. and morewomenalloverto Germanystarted It wasnotuntil1970 legal thatwomen’ssoccerbecame Germany’s firstunofficialnationalwomen’steam. totheformationof anationalhypeandled caused thankeepingwomenfromplaying,purpose. Rather it However,didnotserveitsoriginal theban officially illegal. onwomen’ssoccerandrenderit toimposeaban decided World Championship,theGermanFootballAssociation –until,rightafterGermany’smen’steamwonthe girls In the1950s, soccerwasapopularsportamongyoung years toacceptit. one intheworld,andittookGermany’smenalmost50 teamisthemostsuccessful Germany’s women’sfootball · 2010 1 filmsquarterlygerman hn 4- 162 56 a 4- 162 568 25 [email protected] ·www.hff-potsdam.de email: 20 31-6 +49-3 64·fax 25 20 phone +49-331-6 Marlene-Dietrich-Allee 11·14482Potsdam-Babelsberg/Germany FilmundFernsehen “KonradHochschule fuer ·Cristina Wolf” Marx World Sales (please contact) (please Miss Bildung include: Potsdam, in2009.Herfilms graduating FilmandTelevision ”in “Konrad Wolf of Film attheUniversity Philosophy,studying Literature German andEconomics, shestudied Tanja Bubbel Original Version Old Game Bress Anne Droste, ChristaKleinhans, Grete Eisleben,IngeKwast, Renate Babelsberg ”/Potsdam- FilmundFernsehen“KonradHochschule fuer Wolf Producer Troescher play Production Year of Genre In years ofEastandWest Germantelevision. withfootagefrom50 soccer inGermanyaccompanied female soccerplayers tellthecurioushistoryoffemale That Funny OldGame Tanja Bubbel Length Education, History, Sports Editor With (2010). Jessica Boenisch (2007), was born in1977Bochum-Wattenscheid.was born After 56 min Petra Landers, SabineSeidel,GiselaLiedemann, Marlene Assmann German German ietro Photography Director of Glioblastom 2010 Format Sound Technology Director , three generationsofGerman , three Category Production Company Music by MiniDV, color/b&w, 16:9 (2008), and Tanja Bubbel Emotions Documentary TV Documentary new german films german new Johannes Repka That Funny Stereo Screen- (2005), Miriam 69

Scene from “That Funny Old Game” (photo © Christa Kleinhans) THE MURDERFARM Tannoed Genre she wouldhave likedtoadmit… realizes thatthiscasehasmuch moretodowithherthan and silencelayssenseofguiltinthevillageshe adeep soon discoversthetightlywoven thatbehind weboflies She found. up inthevillage,killerhasstillnotbeen Two yearslater,whenthe26-year-oldnurseKathrinturns daughter Barbara... and theysaythechildren oldDannerfathered ofhis piouswifespokeone inthevillage;hisdeeply tonoone; Danner wasatyrantandmiserwhofelloutwithevery- saw oldman athing,andyetnoonewassurprised: withapickaxe.murdered Nooneinthevillageheardor cluding theirchildren andthenewservant,werebrutally ItwasherethattheentireDannerfamily,in- der farm. mur- withinablue-blackDeep firforestliesthesecluded Principal Cast Productions/Zurich Constantin FilmProduktion/Munich, Hugofilm pany Moszkowicz,Martin ChristophNeracher Schwingel,KristinaLoebbert Ralph Schubert, Design Lueschow Production Michael Schaerer · 2010 1 filmsquarterlygerman hn 4- 153 09 a 4- 153 0910 70 39 [email protected]: ·www.the-match-factory.com 21-5 +49-2 90·fax 70 39 21-5 phone +49-2 Balthasarstrasse 79-81 ·50670Cologne/Germany GmbH· Michael WeberThe MatchFactory World Sales Wueste FilmWest/Cologne, inco-production with Christiane Krumwiede Drama Director of Photography Photography Director of 2009 Category Music by Julia Jentsch,MonicaBleibtreu, Volker Bruch, Director Feature FilmCinema Bettina Oberli Johan Soederqvist Producers Stéphane Kuthy Production Com- Hejo Emons, Stefan Screenplay Co-Producers Production Year of Year Editor Petra Germany. in land andwasalsoasurprisenumberoneaudiencefavorite theyear inSwitzer- successof village, becamethebiggestbox office retired womenwhobringchaostoasleepy high-spirited, fun-loving Late Bloomers theSwissFilmAwardBestFilm.Hersecondfeaturefilm for Award, theNDRDirector’s Award inSchwerinand wasnominated theZurichFilm received Thefilm the SanSebastianFilmFestival. Im Nordwind feature-lengthfilm herfirst films, award-winningshort several LakeInternational ConstanceConference’s Award. Subsidiary After the In2004,shereceived Swisstelevision. casting assistantfor aswella films onvariousadvertising assistant cinematographer onhisfeaturefilm Hartley LouReedandwithHal director Buscemionamusicvideofor Steve She workedYork inNew asaprop assistantwiththeactorand inDirecting. withadegree (HGKZ) from 1995to2000,graduating andDesignZurich Art studied Film&VideoattheSchoolof Bettina Oberli Suisse (DFFF), BAK Schweiz,Zuercher Filmstiftung,SwissTelevision, Idée backing from Version 35 mm,color, 1:1.85 Peeters, NilsAlthaus GundiEllert, Brigitte Hobmeier, Stopper, Janina VitusZeplichal,LisaKreuzer, Filip English English Sound Technology (2004) celebrateditspremiere inthesameyear at Filmstiftung NRW, Federal German FilmFund was born 1972inInterlaken/Switzerland.was born She ( Die Herbstzeitlosen Original Version Henry Fool Henry . Shealsoworked asanADand Length Dolby DigitalSREx German German , 2006),aboutfour 104 min new german films german new Subtitled Format With 70

Scene from “The Murder Farm” (photo © Tom Trambow/Wueste Film West) DANCING DREAMS–TEENAGERS PERFORM“KONTAKTHOF” BYPINA BAUSCH Tanztraeume the world-famousdancerand choreographer. shows thelastmotionpicturesandinterviewwith 2009. onJune30th Pina Bauschdied encounterforthefirsttimeonstage. teenagers condensate toindividualexperiencesthatmanyofthe sonal growth.Gentleandshybutalsoaggressivecontacts cover themselvesinaprocess,which leadstogreatper- Theydevelop anown,expression. dis- individualbody dance performanceintomotionandchoreographyto ofthe first, stillclumsyattemptstotransformthesubjects Wethe openingnight. watchmakingtheir theteenagers The filmaccompaniestherehearsalprocess,culminatingin Pina Bauschherself. and BénédicteBillietundertheintensesupervisionof oftheBausch-dancersJo-AnnEndicott under thedirection 14 between students,aged 40 to18 years,rehearsed Wuppertal wentonanemotionaljourney. EverySaturday, For fromover almostayear,teenagers elevenschools in pose abigchallenge, particularlyforyoungpeople. which feelings, Itisabout anxieties, yearningsanddoubts. the search forlove andtendernesswithalltheattendant thesexes,and human contact,theencountersbetween mistakable signatureofPinaBausch:itdealswithforms theun- The bears danceperformance“Kontakthof” · 2010 1 filmsquarterlygerman hn 4- 16 25 0·fx+922-33 94 38 ·www.tagtraum.de [email protected] email: 21-23 +49-2 00·fax 59 02 21-65 phone +49-2 Weyerstrasse 88·50676Cologne/Germany TAG/TRAUM Filmproduktion GmbH& Co. KG World Sales (please contact) (please Dancing Dreams uedih azn“otkhf vonPinaBausch “Kontakthof” Jugendliche tanzen – filmmaker. the dffb. asacameraman and Since1985hehasalsobeenworking aswellat andImageDesignattheHannoverAcademy tography Television Cinema- Heisan instructorfor inBerlin(dffb). Academy Film& agencies inHamburg,andstudiedFilmattheGerman advertising different for Engineering, heworked asaphotographer Hoffmann Rainer andauthor.cultural journalist asa andworkstoday culturalprograms varioustelevision host for years many asa for LanguageStudies.and German Shewasactive Anne Linsel Dr. Werner Foundation Jackstaedt Westphalia, North-Rhine theStateof (DFFF), MinisterPresident of backing from Screenings Hoffmann Version mm, color, 1:1.85 cooperation withARTE/Strasbourg Filmproduktion/Cologne, inco-production withWDR/Cologne,in Producer Screenplay Production Genre Art, Dance Art, Editor English English Anne Linsel Berlin 2010(BerlinaleSpecial,Generation+) Anne Linsel 2010 was born in Wuppertal and studied Art, Art History inWuppertal Art was born andstudiedArt, Filmstiftung NRW, Federal German FilmFund Sound Technology Mike Schloemer Category Original Version Directors Production Company was born inHamburg.Afterstudying was born Director of Photography Photography Director of Documentary Cinema Documentary Anne Linsel, Rainer Hoffmann Anne Linsel,Rainer Length Producer German German Dolby SR 89 min Gerd Haag new german films german new TAG/TRAUM Format Subtitled Festival Year of Year Rainer With Co- 35 71

Scene from “Dancing Dreams” (photo © KH Krauskopf) Dolby Digital Holstein Film Board (FFA), BKM,FilmfoerderungHamburg Schleswig- Mention Luebeck2009 Nordic Luebeck2009,Muenster2009 FilmDays Forli Wiesbaden2009,UnlimitedCologne 2009,Exground Leeds 2009,CurtocircuitoSantiagodeCompostelaSedicorto Weiterstadt 2009,DramaSãoPaulo 2009, 2009, Winterthur Barcelona 2009, Berlin2009,LAlternativa 2009, Interfilm 1:1.85 Film/Hamburg Manthey Bird Photography Director of 2009 Terminal Genre vision. rhythms ofaworkingday toformafascinatingandpoetic andmusiccondensethe Images,editing tainer terminals. A journeyintothestrangeandwonderfulworldofcon- · 2010 1 filmsquarterlygerman hn 4-039 63 a 4-03 06 20 [email protected]: ·www.shortfilm.com 63 10 +49-40-39 30·fax 06 91 phone +49-40-3 Friedensallee 7· 22765 Hamburg/Germany KurzFilmAgentur Hamburg e.V. Reis ·Stefanie World Sales Producer Director Original Version Experimental Festival Screenings Dirk Manthey Dirk Manthey Joerg Wagner Category With backingfrom Length no dialogue Peter Drittenpreis Production Company 8 min Short Short Screenplay Oberhausen 2009,Hamburg Format ero Production Year of Sound Technology Awards Editor German FederalGerman Joerg Wagner 35 mm,color, Andrew Special Dirk Terminal Job the shorts include: productions. andtelevision Hisfilms film writes scriptsfor Hamburg.He also FilmAgency theShort he wasthedirector of shows. comedy From 1996-2002, andlive events film various short Audiovisual Media.Hehasworked asaprojectionist andpresented Joerg Wagner (2001), Forklift Driver –TheFirst Klaus Dayonthe (2009). Pop Music was born in 1967 in Stuttgart andstudied in1967Stuttgart was born (2002), Motodrom new german films german new (2006), and 72

Scene from “Terminal” (photo © Dirk Manthey Film/Markus Schaefer) Vincent willmeer Genre quitethesameagain. be which thereisonlyonecertainty:noneofthemwillever marks thestartofamomentousadventure,atend HisfatherandDr.Thisthe sea. Rosearehotontheirheels. doctor, Dr. onthelongdrivetoItaly, Rose,heembarks compulsive Alexanderandacarstolenfromthehome’s his Tourette-syndrome. Together withanorexicMarie, to runaway of fromthehomewhereheisstuck because wish forhismother. Heisjustwaitingforanopportunity a candytinunderhis now Vincent’s Andhekeepsherashesin motherisdead. theseaoncemore.But It washismother’sfinalwishtosee Berger play Production Year of Producers Format Mueller-Elmau JohannesAllmayer,Karoline Herfurth, HeinoFerch, Katharina Company Board (FFA), Federal German FilmFund(DFFF) MedienboardFederalBayern, Berlin-Brandenburg,German Film Technology · 2010 1 filmsquarterlygerman hn 4-94 46 a 4-94 46 666 [email protected]: ·www.constantin-film.de 60 44 +49-89-44 0·fax 60 44 phone +49-89-44 Feilitzschstrasse 6·80802 Munich/Germany FilmVerleihConstantin GmbH World Sales Florian David Fitz Florian David Editor Drama, Tragicomedy 35 mm,color, cs Olga Film/Munich Dolby SR Harald Kuegler, ViolaJaeger (please contact) (please Kai Schroeter Casting With backingfrom 2009 ietro Photography Director of bed. V Nessie Nesslauer Original Version Production Design Director Principal Cast Category incent wantstofulfillthislast afHuettner Ralf Feature FilmCinema Length FilmFernsehFonds Florian David Fitz, Florian David German German Production Heidi Luedi Screen- Andreas Sound 95 min in Atem Papagei (1995), (short, 1983), (short, include: abroad. Hisotherfilms zeugen Marilyn Television &FilminMunich1985withthefilm of University Huettner Ralf (shorts, 1984), (1998), Nibelungen Der Assistent (2002), 2008), and Die Musterknaben Reine Formsache Mondscheintarif . Hisfeaturedebut (1987) wasamajorsuccess, winningprizesathomeand (TV, 1992), (1993), Vincent willmeer In Afrika istMuttertag (TV, 2007), Der Fluch (TV, 2007), Voll Normaaal was born in 1954 and graduated from the in1954andgraduated was born Texas –DocSnyderhaeltdieWelt Das MaedchenmitdenFeuer- Die Jagd nachdemSchatzder Die Jagd Putzfrauen Undercover (2001), (2005), (1988), (1997), Andenken einenEngel an (2009). (1994), Die Musterknaben3 Dr. Psycho Die Musterknaben2 Babylon Der kalteFinger and new german films german new Nerzwoelfe (1990), (TV, 2007), Der (TV, 73

Scene from “Vincent will meer” (photo © Constantin Film Verleih GmbH) Marco Armborst Goldbrunner, JoachimDollhopf A s WAG Genre torescueJudith–andfinallyrescuesherself.decides She alotofherselfinthenaïvegirl. “colleague” shesees young playerAsDinagetstoknow exciting. heryoung spring chicken Judithfindshernewlifewithanuprising and wearinessduringherlongyearslivingaWAG-life, Whileprofessionals. Dinalostherselfinherabundance oftwofootball club;theyarethewifeandgirlfriend ball Dina andJuditharethetwonewWAGs oftheBerlinfoot- pany pany Producers Production Design Heidingsfelder, NicolasMendler Jezierski, NicolasdeLeval Directors · 2010 1 filmsquarterlygerman hn 4- 162 56 a 4- 162 568 25 [email protected] ·www.hff-potsdam.dewww.wags-film.comemail: 20 31-6 +49-3 64·fax 25 20 phone +49-331-6 Marlene-Dietrich-Allee 11·14482Potsdam-Babelsberg/Germany FilmundFernsehen “KonradHochschule fuer ·Cristina Wolf” Marx World Sales ohcuefe imudFrshn“ordWl ”/ FilmundFernsehen“KonradHochschule fuer Wolf Drama Joachim Dollhopf, EviGoldbrunner Joachim Dollhopf, Holger Lochau,RenéBeine (please contact) (please Category Editor Menye Sin,Yana IvesApel Boeva, Maja Stieghorst Short Short _ ietro Photography Director of wives and girlfriends wives andgirlfriends ero Production Year of Production Com- Music by Screenplay Johannes 2009 Evi Version Joachim Dollhopf Graduation Film) Cinema) Screenings English German, Length Gordon Vessela Schmidt,AlenHebilovic, Dimitrova, NoraHuetz Babelsberg Potsdam-Babelsberg, inco-production withRBB/Potsdam- and Matt Bei Anruf (2002), togetherinclude: Television ”.Theirfilms “Konrad Wolf Filmand of attheUniversity studied Screenwriting/Dramaturgy WAGs Durst 39 min Awards German/English/Bulgarian German/English/Bulgarian Principal Cast (2009). o 2009,Berlin2010(Perspectives German Hof Sound Technology (2002), Format (2007), First StepsAward 2009(BestGerman studied Directing and Neubuerger I Don’t FeelI Don’t Like Dancing HD/DCP, color, 1:1.89 Vesela Kazakova, SonjaGerhardt, Dolby Digital5.1 (2003), Subtitled Versions Evi Goldbrunner Majella new german films german new Gefangen Original Festival (2008), (2005), 74

Scene from “WAGs” (photo © Marco Armborst) Hans-Albrecht Lusznat Manfred Behrens uae Talentprobe Zugabe. Genre farewell fromthislocation. Forthey daretodoso. allofthem,thisreunionisafinal tain inCologne.They wanttoperformonemoretimeand The “talents”from1979 atthesame foun- again, allmeet normal life,inallofitsfacets. dreams andnightmares,strokes offatecometothefore– ing withcompromise,illnessanddivorce.The filmisabout “Boy fromtheHills”.Theytheirways, allwentabout deal- the“Westerwald Onebecame with it. Elvis”,anotherthe tomakeinformal musicalevenings,otherstried aliving Somestillperformat ly forgetthisfatefulJulyevening. noneofthemcouldeverreal- sort ofmusicalconnection, formance from1979. Almostallofthemstillhave some themwiththeirper- those former“talents”andconfronted ThirtyBehrenssoughtout camera. yearslater,Manfred Peter theirmusicalambitionswithhis captured Goedel tohave oratleastjustwanted somefun. career singing met atafountaininCologne.They wereallhopefulfora On anightinJuly1979, adozenadventurouscharacters Production · 2010 1 filmsquarterlygerman email: [email protected]: ·www.goedelfilm.de 52 47 90 +49-89-2 86 ·fax 74 phone +49-89-29 Kanalstrasse 13·80538Munich/Germany Peter GoedelFilm World Sales ENCORE. TALENT CONTEST –AREUNION Music, Society Music, 2009 (please contact) (please ietr fPhotography Directors of Director Editors Category Gesa Marten, AnikaSimon Gesa Marten, Manfred Behrens Documentary Documentary Screenplay Axel Brandt, Year of Year With Nobel undseinPreis (TV documentary, 1997), (TV documentary, 1996), grafinnen Der Tod inBrighton director andmoderator, include: hisfilms asafreelance editor, inCologne.Active Studies andPhilosophy studied Theater, Film&Television Sciences,Language German Manfred Behrens Festival Screenings Original Version WDR/Cologne Company 20. Jahrhundert ducer Winters,Schatz, Jonny HorstDieterWissandHansBarani Lohmer, HansGuenterMeurer, SiegfriedPatzner, Gabi UdoRecki, Krings,Danny GuentherLanghammer, WilfriedLiebetrau,Many Karin DittrichakaLangel,Karl-Heinz Frerichs akaWandelbein, probe –EinWiedersehen Kattegat wege: DerKanal portrait, 2000), portrait, Vietnam Peter Goedel (documentary, 2000), (TV documentary, 2009),and (TV documentary, 1994), Peter GoedelFilm/Munich,inco-production with Length Bushfeuer i Wiedersehen Ein – (TV documentary, 2008), (TV miniseries, 1999), German German Co-Producer was born in 1949 in Bad Schwartau and in1949BadSchwartau was born o 2009 Hof Hier odernirgends istAmerika 97 min John LeCarré (TV documentary, 1993), (TV documentary, 1999), (TV documentary, 2003), (documentary, 2009). Sound Technology Woody Mr. and Allen Format Vom derToten Leben Angst, Hoffnung und Angst, Hoffnung Jutta Krug Zugabe. Talent-Zugabe. DigiBeta, color, 16:9 (TV portrait, 1997), (TV portrait, Reisewege: Das Das Trauma new german films german new Production 20 Tage im Drei Foto- Reise- Stereo Pro- (TV 75

Scene from “Encore. Talent Contest – A Reunion” (photo © WDR) RABBIT WITHOUTEARS2 ZweiOhrKueken Wahl Schweiger, AnikaDecker Production of Genre quarrelsome duocometogetheragain? turn tomake someunusualeroticdiscoveries.Will the Nowfabulous cook. it’sAnna’sturntostray, andLudo’s ahumanitarianworkeralso happenstobe inAfricaanda there–Ludocan’tcompetewithMr.here, Ralf Sexy,who hisnewbreathingroomanymore...Ralf too crazyabout herlife.AndsuddenlyLudoisn’t this momenttoreenter choosesUnfortunately, Anna’sex-boyfriendRalf precisely and makes himdemandmorebreathingroom. it’s enoughtocauseabreach oftrustthatdevastatesLudo But nothingmorethanamildflirt. for thekill,Ludosees sharpeningherclaws predator abig-bosomed Anna sees Marie, heaccidentallytriggersAnna’sjealousy. Where Whencandlelight dinners. Ludorunsintohisoldflame withpassionatelovemakingpretty evenbalance and andpicking updirtysockstaking outthegarbage keepa into theeverydaymeaningthat routineofcoupledom, togetherfortwoyearsnowhave and been settled Tabloid teacher reporterLudoandkindergarten Anna · 2010 1 filmsquarterlygerman hn 4-96 92 6·fx+98-49 720 [email protected]: ·www.bavaria-film-international.com 37 99 +49-89-64 86·fax 26 99 phone +49-89-64 Bavariafilmplatz 7 ·82031Geiselgasteig/Germany Bavaria MediaGmbH·Thorsten Ritter Bavaria of FilmInternational ·Dept. World Sales Editor Romantic Comedy Romantic Comedy Constantin vonSeld 2009 Director Director of Photography Photography Director of Category Til Schweiger Music by Feature FilmCinema Screenplay Dirk Reichardt, Christof Year Year Til Format Heinze, Marc Hosemann Schweiger, UweOchsenknecht,HeinerLauterbach,Thomas Matthias Schweighoefer, Ken Duken,EmmaTiger EditaMalovcic, Film/Berlin Rothkirch/Cartoon- Hamburg, SevenPicturesFilm/Unterfoehring, in co-production withWarner Bros. FilmProductions Germany/ Subtitled Version Berlin-Brandenburg, German FederalBerlin-Brandenburg, German FilmBoard (FFA) backing from Festival Screenings Gaertner Stefan Ritter Schaefer Schaefer Mirko Schaffer, DanielNitt Heaven’s Door Heaven’s Basterds,Inglourious PhantomPain recent years: of films (andinternational) German the mostsuccessful most popularactors. Schweiger’sasanactorincludesomeof films Germany's writing andproducingisoneof multi-talent,hetoday Til Schweiger schiff Surprise –Periode Surprise 1 schiff ( Barfuss and Producers ), 35 mm,color, cs Rabbit Without Ears Rabbit Rabbit Without Ears 2 Rabbit Principal Cast , aaCotTm adr h rdeo Life Lara CroftTomb TheCradle Raider: of Production Company German FederalGerman FilmFund(DFFF),Medienboard was born in1963Freiburg.was born Anacting,directing, English English Til Schweiger, Tom Zickler Casting Berlin 2010 (German Cinema) Berlin 2010(German . His films asadirector are . Hisfilms Sound Technology Production Design Til Schweiger, NoraTschirner, , Original Version Der bewegte Mann Emrah Ertem Emrah Ertem ( Keinohrhasen ( ZweiOhrKueken Barefoot Films/Berlin, Length new german films german new Co-Producer Dolby Digital , Knockin’ On Knockin’ Barefoot , Christian ), German (T)Raum- 124 min With 1 1/2 ). 76

GERMAN FILMS SHAREHOLDERS & SUPPORTERS

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german films quarterly shareholders & supporters

1 · 2010 78 ASSOCIATION OF GERMAN FILM EXPORTERS

Verband deutscher Beta Cinema M-Appeal World Sales Company Filmexporteure e.V. (VDFE) Dept. of Beta Film GmbH Prinzessinnenstrasse 16 Tegernseer Landstrasse 75 Gruenwalder Weg 28d 10969 Berlin/Germany 81539 Munich/Germany 82041 Oberhaching/Germany phone +49-30-61 50 75 05 phone +49-89-6 42 49 70 phone +49-89-67 34 69 80 fax +49-30-27 58 28 72 fax +49-89-6 92 09 10 fax +49-89-6 73 46 98 88 email: [email protected] email: [email protected], www.vdfe.de email: [email protected] www.m-appeal.com www.betacinema.com Action Concept Film- & The Match Factory GmbH Stuntproduktion GmbH cine aktuell Filmgesellschaft mbH Balthasarstrasse 79-81 An der Hasenkaule 1-7 Werdenfelsstrasse 81 50670 Cologne/Germany 50354 Huerth/Germany 81377 Munich/Germany phone +49-2 21-5 39 70 90 phone +49-22 33-50 81 00 phone +49-89-7 41 34 30 fax +49-2 21-5 39 70 910 fax +49-22 33-50 81 80 fax +49-89-74 13 43 16 email: [email protected] email: [email protected] email: [email protected] www.the-match-factory.com www.actionconcept.com www.cine-aktuell.de Progress Film-Verleih GmbH Aktis Film International GmbH Constantin Film Verleih GmbH Immanuelkirchstrasse 14b Altenburgerstrasse 7 Feilitzschstrasse 6 10405 Berlin/Germany 04275 Leipzig/Germany 80802 Munich/Germany phone +49-30-24 00 32 25 phone +49-3 41-35 00 26 10 phone +49-89-44 44 60 0 fax +49-30-24 00 32 22 fax +49-3 41-35 00 26 19 fax +49-89-44 44 60 666 email: [email protected] email: [email protected] email: [email protected] www.progress-film.de www.constantin-film.de ARRI Media Worldsales SOLA Media GmbH Tuerkenstrasse 89, 80799 Munich/Germany EEAP Eastern European Osumstrasse 17, 70599 Stuttgart/Germany phone +49-89-38 09 12 88 Acquisition Pool GmbH phone +49-7 11-4 79 36 66 fax +49-89-38 09 16 19 Alexanderstrasse 7 fax +49-7 11-4 79 26 58 email: [email protected] 10178 Berlin/Germany email: [email protected] www.arri-mediaworldsales.de phone +49-30-25 76 23 30 www.sola-media.net fax +49-30-25 76 23 59 Atlas International Film GmbH email: [email protected] TELEPOOL GmbH Candidplatz 11, 81543 Munich/Germany www.eeap.eu Sonnenstrasse 21, 80331 Munich/Germany phone +49-89-21 09 75-0 phone +49-89-55 87 60 fax +49-89-21 09 75 81 Exportfilm Bischoff & Co. GmbH fax +49-89-55 87 62 29 email: [email protected] Isabellastrasse 20, 80798 Munich/Germany email: [email protected] www.atlasfilm.com phone +49-89-2 72 93 60 www.telepool.de fax +49-89-27 29 36 36 ATRIX Films GmbH email: [email protected] Transit Film GmbH Aggensteinstrasse 13a www.exportfilm.de Dachauer Strasse 35 81545 Munich/Germany 80335 Munich/Germany phone +49-89-64 28 26 11 german united distributors phone +49-89-59 98 85-0 fax +49-89-64 95 73 49 Programmvertrieb GmbH fax +49-89-59 98 85-20 email: [email protected] Breite Strasse 48-50 email: [email protected], www.atrix-films.com 50667 Cologne/Germany [email protected] phone +49-2 21-92 06 90 www.transitfilm.de Bavaria Film International fax +49-2 21-9 20 69 69 Dept. of Bavaria Media GmbH email: [email protected] uni media film gmbh Bavariafilmplatz 7 www.germanunited.com Bavariafilmplatz 7 82031 Geiselgasteig/Germany 82031 Geiselgasteig/Germany phone +49-89-64 99 26 86 phone +49-89-59 58 46 fax +49-89-64 99 37 20 fax +49-89-54 50 70 52 email: [email protected] email: [email protected] www.bavaria-film-international.com www.unimediafilm.com

german films quarterly association of german film exporters

1 · 2010 79 GmbH worldwide transport solutions Int. Medienspedition FILMTRANSPORTS . FIRST CLASS SERVICE AIRFREIGHT WORLDWIDE: EXPORT . IMPORT . WAREHOUSE INTERNATIONAL COURIERSERVICE: WORLDWIDE „DOOR TO DOOR“ TRUCKING SERVICE . OVERNIGHT FESTIVALS . FILMSECURITY-TRANSPORTS

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German Films German Films German FilmsQuarterly 2 · 2009

Quarterly 3 · 2009 Quarterly 1 · 2009 German QuarterlyFilms 4 · 2009

AT ROME In Competition THE LAST STATION by Michael Hoffman

PORTRAITS Directors Ayse Polat & Sebastian Schipper World Sales Aktis Film International Actress Katharina Wackernagel

EVERYONE ELSE (In Competition) AT THE BERLINALE GERMANY 09 (Out of Competition) STORM (In Competition)

FlyingEmily Moon Atef, Film, Hans Heike Steinbichler, Makatsch PORTRAITS

German Films Quarterly is available in print and online as a PDF download. Visit www.german-films.de where you will find all the latest information and publications issued by German Films – and a whole lot more! GERMAN FILMS: A PROFILE

German Films Service + Marketing is the national infor- German Films’ range of activities includes: mation and advisory center for the promotion of German films worldwide. It was established in 1954 under the name Export-Union of Close cooperation with major international film festivals, in- German Cinema as the umbrella association for the Association of cluding Berlin, Cannes, Venice, Toronto, Locarno, San German Feature Film Producers, the Association of New German Sebastian, Montreal, Karlovy Vary, Moscow, Nyon, Shanghai, Feature Film Producers and the Association of German Film Rotterdam, San Francisco, Sydney, Gothenburg, Warsaw, Exporters, and operates today in the legal form of a limited company. Thessaloniki, Rome, and Turin, among others In 2004, the company was reorganized and now operates under the name: German Films Service + Marketing GmbH. Organization of umbrella stands for German sales companies and producers at international television and film markets Shareholders are the Association of German Film Producers, the (Berlin, Cannes, AFM Los Angeles, Shanghai) German Producers Alliance, the Association of German Film Exporters, the German Federal Film Board (FFA), the Stiftung Staging of “Festivals of German Films” worldwide (Madrid, Deutsche Kinemathek, the German Documentary Association, Paris, London, New York, Buenos Aires, Moscow, Copen- FilmFernsehFonds Bayern and Filmstiftung NRW representing the hagen, Stockholm, Tokyo, Sydney, Melbourne) seven main regional film funds, and the German Short Film Association. Staging of the “German Premieres” industry screenings in New York and Rome Members of the advisory board are: Alfred Huermer (chairman), Peter Dinges, Antonio Exacoustos, Roman Paul, Ulrike Schauz, Providing advice and information for representatives of the Michael Schmid-Ospach. international press and buyers from the fields of cinema, video, and television German Films itself has 14 members of staff: Christian Dorsch, managing director Providing advice and information for German filmmakers and Mariette Rissenbeek, public relations/deputy managing director press on international festivals, conditions of participation, and Petra Bader, office manager German films being shown Julia Basler, project coordinator/documentary film Christin Czarnecki, trainee Organization of the annual NEXT GENERATION short film Christine Harrasser, managing director’s assistant/project coordinator program, which presents a selection of shorts by students of Angela Hawkins, publications & website editor German film schools and is premiered every year at Cannes Barbie Heusinger, project coordinator/distribution support Nicole Kaufmann, project coordinator Publication of informational literature about current German Michaela Kowal, accounts films and the German film industry (German Films Quarterly), Kim Liebeck, PR assistant/festival coordinator as well as international market analyses and special festival Martin Scheuring, project coordinator/short film brochures Konstanze Welz, project coordinator/television Stephanie Wimmer, project coordinator An Internet website (www.german-films.de) offering information about new German films, a film archive, as well as in- In addition, German Films has foreign representatives in nine coun- formation and links to German and international film festivals tries. and institutions

German Films’ budget of presently €4.8 million comes from film Organization of the selection procedure for the German entry export levies, the office of the Federal Government Commissioner for the Oscar® for Best Foreign Language Film for Culture and the Media, and the FFA. The seven main regional film funds (FilmFernsehFonds Bayern, Filmfoerderung Hamburg Schleswig- Collaboration with Deutsche Welle’s DW-TV KINO program Holstein, Filmstiftung NRW, Medienboard Berlin-Brandenburg, MFG which features the latest German film releases and inter- Baden-Wuerttemberg, Mitteldeutsche Medienfoerderung, and Nord- national productions in Germany media) make a financial contribution – currently amounting to €324,000 – towards the work of German Films. Organization of the “German Films Previews” geared toward arthouse distributors and buyers of German films German Films is a founding member of the European Film Promotion, a network of European film organizations with similar responsibilities Selective financial Distribution Support for the foreign releases to those of German Films. The organization, with its headquarters in of German films Hamburg, aims to develop and realize joint projects for the presentation of European films on an international level. Organization with Unifrance of the annual German-French film meeting

In association and cooperation with its shareholders, German Films works to promote feature, documentary, television and short films.

german films quarterly german films: a profile

1 · 2010 82 FOREIGN REPRESENTATIVES IMPRINT

Argentina France Spain Gustav Wilhelmi Anne Tallineau Stefan Schmitz Ayacucho 495, 2º ”3“ Mercredi Films Avalon Productions S.L. C1026AAA Buenos Aires/Argentina 14, rue Edouard Robert Pza. del Cordón, 2 phone +54-11-49 52 15 37 75012 Paris/France 28005 Madrid/Spain phone/fax +54-11-49 51 19 10 phone +33-1-43 41 11 90 phone +34-91-3 66 43 64 email: [email protected] fax +33-1-43 41 11 92 fax +34-91-3 65 93 01 email: [email protected] email: [email protected]

China Italy United Kingdom Anke Redl Alessia Ratzenberger Iris Ordonez CMM Intelligence A-PICTURES 37 Arnison Road B 621, Gehua Tower Clivo delle Mura Vaticane 60 East Molesey KT8 9JR/Great Britain No. 1, Qinglong Hutong 00136 Rome/Italy phone +44-20-89 79 86 28 Dongcheng District phone +39-06-48 90 70 75 email: [email protected] Beijing 100007/China fax +39-06-4 88 57 97 phone +86-10-84 18 64 68 email: [email protected] fax +86-10-84 18 66 90 email: [email protected]

Eastern Europe Japan USA & Canada Simone Baumann Tomosuke Suzuki Oliver Mahrdt L.E. Vision Film- und Nippon Cine TV Corporation Hanns Wolters International Inc. Fernsehproduktion GmbH Suite 123, Gaien House 501 Fifth Avenue, #2112A Koernerstrasse 56 2-2-39 Jingumae, Shibuya-Ku New York, NY 10017/USA 04107 Leipzig/Germany 150-0001 Tokyo/Japan phone +1-212-714 0100 phone +49-3 41-96 36 80 phone +81-3-34 05 09 16 fax +1-212-643 1412 fax +49-3 41-9 63 68 44 fax +81-3-34 79 08 69 email: [email protected] email: [email protected] email: [email protected]

German Films Quarterly is published by: Editor Angela Hawkins

German Films Production Reports Martin Blaney, Simon Kingsley Service + Marketing GmbH Herzog-Wilhelm-Strasse 16 Contributors for this issue Martin Blaney, Johannes Bonke, Harald Olkus, 80331 Munich/Germany Josef Schnelle, Eric Stahl (†) phone +49-89-5 99 78 70 fax +49-89-59 97 87 30 Translations Lucinda Rennison email: [email protected] www.german-films.de Cover Photo Scene from “The Hairdresser” (photo © Constantin Film Verleih) ISSN 1614-6387 Design & Art Direction Werner Schauer, www.triptychon.biz Credits are not contractual for any of the films mentioned in this publication. Printing Office ESTA DRUCK GMBH, Obermuehlstrasse 90, 82398 Polling/Germany © German Films Service + Marketing GmbH German Films supports the use of paper from sustainable forestry. All rights reserved. No reproduction, copy or transmission of The pages of this magazine are made of PEFC certificated cellulose. this publication may be made without written permission. PEFC (Programme for the Endorsement of Forest Certification schemes) is the largest independent organization worldwide for securing and continuously improving a sustainable forest management and it guarantees ecological, social and economic standards. Currently there are 215 million PEFC/04-31-1180 hectares of PEFC certificated forest worldwide. german films quarterly foreign representatives · imprint

1 · 2010 83 features television documentaries shorts

BERLINALE 2010

Martin-Gropius-Bau · Stand #13 · Niederkirchner Str. 7 · 10963 Berlin phone +49-30-259 398 427 · fax +49-30-259 398 431 · www.german-films.de