German Films At

German Films at

KINO! 2010: New Cinema from Germany April 21 – May 2, 2010 CONTENTS

Introduction 3 KINO! 2010 : New Cinema from Germany 4 Discussing The Day Will Come and The Reichsorchester – The Berlin Philharmonic and the Third Reich : A Talk with Susanne Schneider, Enrique Sánchez Lansch, Katharina Schüttler, and Pia Frankenberg 12 KINO! 2010 : New Cinema from Germany 14 Screening Schedule 22 Next Generation 2009 24 Imprint 38 German Films – A Profile 39

TICKET INFORMATION

Roy and Niuta Titus Theaters The Museum of Modern Art 11 West 53rd Street, New York, NY 10019, www.moma.org

Film Admission Adults $10 Seniors (65 and over with ID) $8 Students (full-time with current ID) $6 (For admittance to film programs only)

Film tickets may be obtained for same-day screenings at no charge by presenting your Museum membership card or your Museum admission ticket stub at the Film and Media Desk.

For further information please contact Oliver Mahrdt Hanns Wolters International Inc. U.S. – Representative of German Films phone 212-714 0100 · fax 212-643 1412 [email protected]

2 Contents / Ticket Information Kino! 2010: New Cinema from Germany April 21 – May 2

The Museum of Modern Art marks its thirty-first annual survey of recent German cinema with a selection that includes features by three leading directors – Andreas Dresen ( Whisky with Vodka ), Hans- Christian Schmid ( The Wondrous World of Laundry ) and Margarethe von Trotta ( Vision ). New this year to Kino! are filmmakers Susanne Schneider ( The Day Will Come ), and Jan Raiber whose docu - mentary, All My Fathers , premiered at the Berlin Film Festival in February.

German history plays a signi ficant role in Enrique Sanchez Lansch’s The Reichsorchester: The Berlin Philharmonic and the Third Reich , as it does in both Comrade Couture about the fashion “industry” in former East Germany, and the OSCAR ®-nominated Rabbit à la Berlin about livestock on the “other” side of the Berlin Wall. More current is From Ramstein with Love about the large American military base and hospital in the Rhineland.

Rounding out the season is Next Generation 2009 , twelve short films from German film academies, and three recent German acquisitions to MoMA’s film archives – Hans Christian Schmid’s Requiem , Hans Weingartner’s The Edukators , and Philip Groening’s Into Great Silence .

Laurence Kardish Senior Curator, Department of Film The Museum of Modern Art

Organized by Laurence Kardish, Senior Curator, Department of Film, in cooperation with German Films (Munich) and its New York representative, Oliver Mahrdt. Kino! is presented with the support of the Goethe-Institut New York. Thanks to Christian Dorsch, Managing Director, and Nicole Kaufmann, Project Coordinator, German Films; Juliane Camfield, Goethe-Institut New York, and to all participating filmmakers, producers, and directors.

Kino! 2010: New Cinema from Germany 3 Alle meine Väter ALL MY FATHERS If there can be said to be such a thing, ALL MY FATHERS begins as a typical documentary about a young man, haunted by unanswered questions, in search of a biological parent he’s never known. But wait: within the first 12 minutes or so, 28-year-old filmmaker Jan Raiber, with the blessing of bubbly mom Kristina and loving stepfather Jürgen, has found his father Uwe, Kristina’s ex-husband, the result of a rushed union in the former GDR as a bid for both freedom and conformity. Upon further reflection, however, Kristina has one more surprise: Uwe isn’t Jan’s dad either. In documentary, as in drama, story is everything. And Jan Raiber has a remarkable story. One of his two siblings already knew Jürgen wasn’t his father, the other didn’t; Kristina’s parents are likewise under the impression Uwe – who paid Kristina child sup - port for 18 years – is Jan’s biological father. Into this moral hornet’s nest comes an obstinate young filmmaker who confesses his on-camera anguish at the revelation: “the film is simply about a guy running around in search of his father; that’s the film right now. But I’m not inter - ested in that now, that’s the problem.” His string of bold solutions leads to a denouement of unguarded, cumulatively devastating emotional moments, rendering ALL MY FATHERS a film of rich cultural metaphor and immense personal courage. – Eddie Cockrell

Genre Drama Category Documentary Cinema Year of Production 2008/2009 Director/ Screen play Jan Raiber Director of Photography Clemens Baumeister Producer Janine Wolf Production Company Filmakademie Baden-Württemberg/Ludwigsburg, LOBOCITO Film/Berlin Principal Cast Jan Raiber Length 89 min. Sound Technology Stereo Festival Screenings Berlinale 2010, Hamburg 2010 (Documentary Film Week) World Sales Filmakademie Baden-Württem - berg, Janine Wolf, email: [email protected], www.lobocitofilm.de

) n i l

Jan Raiber was born in 1980 in Nordhausen in Thuringia. He grew up in Leipzig and performed in youth r e B

theater groups. He trained as a film and video editor in Berlin, Leipzig and Halle from 1999-2002 and began / m l working as an assistant director in 2003. In 2005 he took up studies in directing at the Baden-Württemberg i F

Film Academy in Ludwigsburg. O T I C O

Screening: Thursday, 22 April, 4:30 pm, Sunday, 25 April, 5:00 pm B O L

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4 KINO! 2010: New Cinema from Germany S

Es kommt der Tag THE DAY WILL COME For reasons at first unclear, the immensely angry Alice (Katharina Schüttler) makes her way to the Alsace-Lorraine winery doorstep of Judith Müller (Iris Berben). To the consternation of Judith’s husband and two teenaged children, Alice eventually claims to be her abandoned daughter. But that fact is just the beginning of Judith’s secrets, and Alice’s obsession. There have, of course, been numerous recent films about the knotty moral problems faced by aver - age Germans forced to severely revise their lives as a consequence of personal choice and poli - tical change, from Christian Petzold’s THE STATE I AM IN and Oskar Roehler’s NOWHERE TO GO, both from 2000, to last year’s extraordinary NOVEMBER CHILD and, of course, Florian Henckel von Donnersmarck’s Oscar-winning THE LIVES OF OTHERS. Yet few of these films have trafficked in the naked emotional rawness of THE DAY WILL COME; to watch mother and daughter verbally pummel each other is to see unchecked grief and anguish made real. For theater director and screenwriter Susanne Schneider, “the main question was elemental: how far would we go for our ideals? It was not my concern to decide between right and wrong, I wanted to focus first and foremost on the dilemma of the situation: anyone who opts for a political ideal pays a price, sooner or later.” Winner of a special mention award at Thessaloniki for Schüttler’s laceratingly fearless performance, THE DAY WILL COME is a force ful and resonant work. – Eddie Cockrell

Genre Drama Category Feature Film Cinema Year of Production 2009 Director/Screenplay

Susanne Schneider Director of Photography Jens Harant Producers Sabine Holtgreve, Stefan ) s s u

Schubert, Ralph Schwingel Production Company Wüste Film Ost/Berlin, in co-production with a T

Unlimited/Strasbourg, Filmtank/Stuttgart, Wüste Film West/Cologne Principal Cast Iris Berben, k c i r t

Katharina Schüttler, Jacques Frantz, Sebastian Urzendowsky, Andrée Damant Length 104 min. Sound a P /

Technology Dolby SRD Festival Screenings Munich 2009, Toronto 2009, Thessaloniki 2009 (in t s O competition), Göteborg 2010 Awards Bavarian Film Prize 2010 (Best Newcomer Actress) World Sales m l i

Les Films du Losange, email: [email protected], www.filmsdulosange.fr F

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Susanne Schneider studied at the Stuttgart State Academy for Art and Design and at the Academy of W

Munich in 1992. Since then, she has written numerous award-winning screenplays for television and featu - o h p ( re films. In 2002, she directed her first feature film from her script In einer Nacht wie dieser , nomi - ” e

nated for Best Director at the Munich Film Festival 2003. For the screenplay of her second feature The m o C

Day Will Come (Es kommt der Tag , 2009), she won the Thomas Strittmatter Award 2008. Susanne l l Schneider teaches screenwriting at the Baden-Württemberg Film Academy, the Hamburg Media School and i W

y the International Film School in Cologne. a D

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Screening: Monday, 26 April, 4:15 pm, Wednesday, 28 April, 7:00 pm “

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6 KINO! 2010: New Cinema from Germany S

Liebesgrüsse aus Ramstein FROM RAMSTEIN WITH LOVE Since 1952, Ramstein Air Base in southwest Germany has served as the staging area for what is now known as the United States Air Forces in Europe. With an aggregate population of some 53,000 service members and civilian support staff, it is the largest overseas American commu - nity in the world and serves as a lifeline to around 100 units globally—including combat troops in Iraq and Afghanistan. From December 2007 until just after Barack Obama’s election as pre - sident, Siberian-born and Germany-based documentary filmmaker Irene Langemann (RUS - SIA’S WONDER CHILDREN) followed three mixed-race, German-American, military-civilian married couples as they did their jobs and lived their lives. Though evasive when asked point- blank if the U.S. should pull out of what one soldier refers to as “eye-rack,” any apparent appre - hension is overcome by determination and a tangible sense of patriotism: one German fire - fighter, married to an American seen being promoted to Air Force Master Sergeant after a long posting in Kuwait, prompts his young son to sing a phonetically spot-on version of Lee Greenwood’s “Proud to Be an American.” With its emphasis on the personal over the political, FROM RAMSTEIN WITH LOVE breathes fresh life into one soldier’s observation that “the military is not a job, it’s a life.” – Eddie Cockrell

Genre History, Society Category Documentary Cinema Year of Production 2009 Director/ Screenplay Irene Langemann Producer Wolfgang Bergmann Production Company Lichtfilm Film - produktion/Cologne with SWR/Baden-Baden and Deutsche Welle/Berlin Director of Photography

Dieter Stürmer Principil Cast Jeannine Ewing, James Ewing, Katrina Gawlik, Axel Gawlik, Traci Schläfer, ) n o Thorsten Schläfer Length 90 min. Sound Technology Stereo, Dolby Festival Screenings Munich i t k 2009 World Sales Lichtfilm Filmproduktion, email: [email protected], www.lichtfilm.de u d o r p m l Irene Langemann was born in the Omsk region of the Soviet Union in 1959. She studied acting and i F

German studies at the Tcepkin Theater Academy in Moscow. From 1980-1990, she worked as an actress, l i f t director and theater writer in Moscow. In 1983, she began moderating and directing for Russian television. h c i L In 1986, she became a director and scene editor at the Nasch Theater in Moscow . She moved to Germany ©

o in 1990 and was an editor at Deutsche Welle TV in Cologne until 1997. Since 1997, she has been working t o h

as a freelance filmmaker. A selection of her films includes: Imperium der Träume (1996), Auf p (

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Wiedersehen in Berlin (1997), Zwischen hier und dort (1997), Das Ende einer Odyssee e v o

(1998), Klasse(n) Klänge (1999), Fit für Leben und Arbeit (2000), Russlands Wunder - L

h t kinder (1998-2000), Lale Andersen: The Voice of Lili Marleen (2001), Martins’ Passion i w

(Die Martins Passion , 2003), Ices and Oranges (2004), Vodka, Art, and Fashion (2004), i e t Goldap - In Polish Siberia (2005), Rubljovka (2007), Blood and Honey (2007), Liverpool s m a

– Beat City (2008), From Ramstein with Love (2009) and The Competitors – Russian R

Wonder Children II (2009). o r F “

Screening: Thursday, 29 April, 7:30 pm, Friday, 30 April, 6:00 pm o r f

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Ein Traum in Erdbeerfolie COMRADE COUTURE As a 1980s model in sartorially bland East Berlin, young Marco Wilms fell in with guerilla de - signers who rendered fashion from such found resources as shower curtains and the pink plastic used to protect growing fruit (COMRADE COUTURE’s German title translates literal - ly as “a dream in strawberry foil”). Reuniting flamboyant stylist Frank Schäfer, ebullient de signer Sabine von Oettingen and actor-turned-Muslim Robert Paris – classified by one now-sheepish former Stasi agent as “negative adolescents” – they decide to recreate a fashion show from back in the day. “I wanted to make a movie that is just fun,” Wilms explains, and COMRADE COUTURE is: both a tribute to their brave eccentricity and a timely example of the current wave of “Ostalgie” (combining the German words for “nostalgia” and “east”). COMRADE COUTURE is refreshingly personal and historically invaluable. – Eddie Cockrell

Genre History, Society, Art, Fashion Category Documentary Cinema Year of Production 2009 Director/Screenplay Marco Wilms Directors of Photography Lars Barthel, Jörg Jeshel, Istvan Imreh Producers Gunnar Dedio, Marco Wilms, Carmen Cobos Production Company LOOKS Film - produktion/Berlin in co-production with Heldenfilm/Berlin, COBOS Film BV/Amsterdam and ZDF/Mainz Principal Cast Frank Schäfer, Sabine von Oettingen, Robert Paris, Angelika Kroker, Klaus Ehrlich, Helga Paris, Jürgen Breski, Frieda von Wild Length 83 min. Sound Technology Stereo Festival

10 KINO! 2010: New Cinema from Germany

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- - l , , j Discussing The Day Will Come and The Reichsorchester – The Berlin Philharmonic and the Third Reich : A Talk with Susanne Schneider, Enrique Sánchez Lansch, Katharina Schüttler, and Pia Frankenberg )

In conjunction with the screenings of The Day Will Come and The Reichsorchester as part of KINO! s s u

2010 [see pages 6 + 14] the Goethe-Institut New York and Deutsches Haus at NYU are pleased a T

k c

to host a discussion about the two films at the Wyoming Building, the Goethe-Institut’s event i r t space on the Lower East Side. The event brings together the films’ two directors, Susanne a P / t

Schneider, and Enrique Sánchez Lansch, and the actress Katharina Schüttler, the young female s O

lead in The Day Will Come . Both films serve as examples in recent German cinema's investigati -

m l ) i n F i l on of core events in German history that profoundly changed and shaped the nation – the Third r e t e s B

Reich and the RAF. The talk will be moderated by author/filmmaker Pia Frankenberg. ü d l i W

i e Tuesday, 27 April, 7:00 pm o t t s l o l h u

p (

Goethe-Institut Wyoming Building ” o e

rd t m 5 East 3 Street (just east of Bowery) o o h p C (

New York, NY 10003 l i ” r e W t

Phone: +1 (212) 439-8700 s y e a www.goethe.de/newyork h c D

r e o h s h T c “ i

Admission is free; no reservation required e m R

o r e

Deutsches Haus at NYU is grateful for the support received from the DAAD for this event. f h

s T e “

n d e c n S 12 KINO! 2010: New Cinema from Germany a

GOETHE-INSTITUT NEW YORK: TheGoethe-InstitutNewYorkorganizesa THREE LOCATIONS broad spectrum of exciting cultural events— such as film screenings, exhibitions, readings, discussions, artist talks, and performances—which present contemporary German culture and promote international cultural exchange. Please visit us in our three new downtown spaces: the GOETHE-INSTITUT WYOMING

BUILDING, our event space, and LUDLOW 38, our satellite space for contemporary art.

The GOETHE-INSTITUT NEW YORK’S offices

as well as its LIBRARY are now located at 72 Spring Street.

For detailed information and program up-

dates please visit www.goethe.de/newyork,

r www.goethe.de/wyomingbuilding, e m i r o L and www.ludlow38.org. e n i r e h t a

K d n a g r e b l h o

K n i r a K y b s o t o h P Das Reichsorchester – Die Berliner Philharmoniker und der Nationalsozialismus

THE REICHSORCHESTER – THE BERLIN PHILHARMONIC AND THE THIRD REICH

“The claim we were a Nazi orchestra is one I have to reject,” says Erich Hartmann, who has played double bass for the Berlin Philharmonic since 1943. “I see it differently.” And with that firm assertion – the tacked-on opinion itself a huge understatement – THE REICHSORCHE - STER jumps squarely into the moral dilemma which continues to be a flashpoint of controver - sy: can those musicians who stayed in Germany, played in the orchestra and benefitted from their status as artists be held accountable for supporting the Third Reich? Or, as controversial conductor Wilhelm Furtwängler claimed in his post-war denazification trial, did he and the musicians under his baton have an obligation to bring the music of Bach, Beethoven, Mozart and Schubert to a German citizenry beleaguered in more ways than one? In 2006, the Berlin Philharmonic undertook an investigation of its relationship with the Nazi regime. This fascinat - ing, scrupulously researched documentary by RHYTHM IS IT! co-director Enrique Sánchez Lansch (assisted by Misha Aster, who published the book “The Reich’s Orchestra” at about the same time), combines voluminous archive material with interviews of surviving members of the orchestra from the period and their offspring. There is shocking evidence for each argument, yet no doubt that to call the issue complex is itself a huge understatement. – Eddie Cockrell

Genre History Category Documentary Cinema Year of Production 2007 Director/Screen - play Enrique Sánchez Lansch Director of Photography Fariba Nilchian Producer Ulli Pfau Production Company EIKON Media/Berlin in co-production with rbb/Potsdam Principal Cast Johannes Bastiaan, Erich Hartmann, Andreas Röhn, John Schuster, Andreas Hoppe, Christian Buchholz,

Dietrich Gerhard, Ursula Küllmar, Ingrid Lorenz, Christiane Weißfinger Length 90 min. Sound ) n i Technology Stereo Festival Screenings Prague 2008 Awards Diapason d’Or (2008), Choc du l r e B

Monde de la Musique (2008) World Sales C Major Entertainment, email: e.kruse@cmajor-entertain d l i ment.com, www.cmajor-entertainment.com b

n i e t s l l

Enrique Sánchez Lansch grew up in Gijón and Cologne. He studied music, majoring in singing, main - u

University of California at Los Angeles (UCLA). He is based in Berlin working as a writer and director on o h p ( both documentaries and narrative feature films. A selection of his films includes: Rhythm Is It! (2004), ” r e

Rachmaninoff (2007), Mstislav Rostropovich – The musical conscience (2007), The t s e h

Reichsorchester – The Berlin Philharmonic and the Third Reich (2007), The Promise c r o of Music (2008), Piano Encounters (2010) s h c i e R

Screening: Saturday, 24 April, 5:00 pm, Sunday, 25 April, 2:30 pm e h T “ In person: Enrique Sánchez Lansch (director) m o r f

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14 KINO! 2010: New Cinema from Germany S

m l i Vision – Aus dem Leben der Hildegard von Bingen VISION F g n i Twelfth century Benedictine abbess Hildegard von Bingen was a Christian mystic, author, coun - n

e selor, naturalist, scientist, philosopher, physician, herbalist, poet, channeller, visionary, composer p

O and polymath who has emerged from the shadows of history as an extraordinary and enduring agent of faith and change. Margarethe von Trotta is a German auteur, hailed as the world’s lead - ing feminist filmmaker, whose dozen films in three decades – including MARIANNE AND JULIANE, ROSA LUXEMBURG and ROSENSTRASSE – have included five leading roles for the great German actress Barbara Sukowa. In the profoundly joyful VISION, both collaborate trium - phantly to portray von Bingen’s determination to expand the responsibilities of women within the order, even as she fends off outrage over the visions she claims to receive from God. “She was a woman whose subconscious worked in amazing ways without her ever realizing it,” von Trotta told interviewer Thilo Wydra. “She believed she had been given her orders from God … In this respect she is in fact quite similar to Rosa Luxemburg. She, too, heard a voice, the voice of history; she, too, wanted to enjoy all her talents to the fullest and use them to the best possible effect.” Formal without feel ing austere, warm and relaxed given its cloistered subject matter, VISION is in many ways a culmination of von Trotta’s extraordinary oeuvre of films about women and their communities. A 2009 Telluride film festival sensation, VISION is unique and powerful. – Eddie Cockrell

Genre Biopic, Drama Category Feature Film Cinema Year of Production 2009 Director/ Screen play Margarethe von Trotta Director of Photography Axel Block Producer Markus Zimmer Production Company Clasart Film- und Fernseh pro duktions gesell schaft/Munich, in co-pro - duction with ARD-Degeto/Frankfurt, Tele München/Munich, Celluloid Dreams/Paris Principal Cast Barbara Sukowa, Hannah Herzsprung, Heino Ferch, Alexander Held Length 111 min. Sound

Technology Dolby SR-D Festival Screenings Telluride 2009, Toronto 2009, Rome 2009 (in com - ) H

petition), Kerala 2009, Göteborg 2010, Miami 2010 Awards Bavarian Film Prize 2010 (Best Leading b m G

Actress) World Sales Celluloid Dreams, email: [email protected], www.celluloid-dreams.com h i e l r e

Margarethe von Trotta ranks among the most important female directors in German cinema since v m l i

the 1970s. Today primarily active as a screenwriter and director, her most well-known films include: The F

e d

Lost Honor of Katharina Blum (Die verlorene Ehre der Katharina Blum , 1975, in co- r o c

direction with Volker Schlöndorff), Sisters or the Balance of Happiness (Schwestern oder n o C

die Balance des Glücks , 1979), Marianne and Juliane (Die Bleierne Zeit , 1981), Sheer ©

Madness (Heller Wahn , 1983), Rosa Luxemburg (1985), The Promise (Das Versprechen , o t o

1994), Rosenstrasse (2003), and I Am the Other Woman (Ich bin die Andere , 2006). h p (

” n o Screening: Wednesday, 21 April, 7:00 pm i s i V “ In person: Margarethe von Trotta (director), Barbara Sukowa (cast) m o r f

e n e c

16 KINO! 2010: New Cinema from Germany S

Whisky mit Wodka WHISKY WITH VODKA Things are tense on the set of the period love triangle TANGO FOR THREE. Egotistical star Otto Kullberg (Henry Hübchen, GO FOR ZUCKER!) is drunk once more, much to the chagrin of lea - ding lady Bettina Moll (Corinna Harfouch, PERFUME: THE STORY OF A MURDERER), who once had a fling with Otto but is now unhappily married to the film’s director, earnest auteur Martin Telleck (Sylvester Groth, Goebbels in INGLOURIOUS BASTERDS). When younger actor Arno Runge (TV veteran Markus Hering) is brought in as Otto’s back-up and bête noir, the two thespians embark on a complicated game of one-upmanship that throws the entire production into merry chaos. Laced with German film industry in-jokes by veteran screenwriter Wolfgang Kohlhaase (SOLO SUNNY, THE LEGEND OF RITA, SUMMER IN BERLIN) and smoothly directed by the prolific Andreas Dresen (GRILL POINT, WILLENBROCK, CLOUD 9), WHISKY WITH VODKA plays like nothing so much as a German version of François Truffaut’s DAY FOR NIGHT re-imagined by Woody Allen: Dresen even employs Allen’s distinctive open- ing credit style, and the sheer affection for the filmmaking process is straight from Truffaut’s modus operandi. Winner of the Best Director prize at the 2009 Karlovy Vary festival, the effer - vescent WHISKY WITH VODKA has an effect that is, well, intoxicating. – Eddie Cockrell

Genre Melodrama Category Feature Film Cinema Year of Pro duction 2009 Director Andreas Dresen Screenplay Wolfgang Kohlhaase Director of Photography Andreas Höfer Producer Christoph Müller Production Company Senator Film Produktion/Berlin, in co-production with Rommel Film/Berlin Principal Cast Henry Hübchen, Corinna Harfouch, Markus Hering, Valery Tscheplanowa, Sylvester Groth Length 108 min. Sound Tech nology Dolby Digital Festival

) Screenings Karlovy Vary 2009 (In Competition), Pusan 2009, Ghent 2009, Rio 2009, Montreal Nouveau s n a h

Cinéma 2009, Tallinn Black Nights 2009, Havanna 2009, Berlin 2010 (German Cinema), Sofia 2010 g n u J

Awards Best Direction Karlovy Vary 2009 World Sales The Match Factory GmbH, email: info@match - n e f factory.de, www.the-match-factory.com f e t S / r o

Andreas Dresen was born in 1963 and started shooting amateur films in 1979. From 1984 to 1985 he t a n worked as a sound technician at the theater in Schwerin, and then apprenticed at the DEFA studios, work - e S

ing as an assistant director with Günter Reisch. He then studied direction at the “Konrad Wolf” University ©

o t

of Film & Tele vision in Potsdam. Since 1992, he has been working as a writer and director for television, o h p cinema, and theater. A selection of his award-winning films includes: Silent Country (Stilles Land , (

” a

1992), Night Shapes (Nachtgestalten , 1998), The Police woman (Die Polizistin , 2000), k d

Grill Point (Halbe Treppe , 2001), Vote for Henryk! (Herr Wichmann von der CDU , o V

h t

2003), Willenbrock (2004), Summer in Berlin (Sommer vorm Balkon , 2005), Cloud 9 i w

(Wolke 9 , 2008), and Whisky with Vodka (Whisky mit Wodka , 2009). y k s i h W

Screening: Thursday, 22 April, 7:30 pm, Saturday, 24 April, 2:30 pm “

m o r f

e n e c

18 KINO! 2010: New Cinema from Germany S

Die wundersame Welt der Waschkraft

THE WONDROUS WORLD OF LAUNDRY

In the weary Polish border village of Widuchowa, some 80 miles from the bright lights of Berlin, the Fliegel Textile Service is a prominent German-run enterprise. Providing crisp linens to many of the German capital’s most luxurious hotels, the large, brightly lit laundry employs some 400 locals, primarily women, in a seven-day-a-week shift structure. For his first documentary in 16 years, director Hans-Christian Schmid brings the same rural poetry that brought him to pro - minence in such dramatic features as LICHTER (DISTANT LIGHTS, 2003) and REQUIEM (2006) to this portrait of two such women and the complex home lives they work long hours to maintain. Divorced Beata struggles to raise her three children in a severely cramped flat, while recently remarried Monika hopes her 21-year-old daughter Marta can find a place for herself in a seem ingly uncaring world. “In Poland these days,” someone says, “everything’s about money. Family life suffers because of this.” For his part, the well-groomed German owner has his own rational: “Everyone, he explains smoothly, “must find their level of personal satisfaction.” At once ruefully meditative and politically charged, this calm yet subversive work – its fury hinted at

)

only by the title’s inherent irony – in fact wields a judgment as sharp as the folds in a Fliegel bed - E T sheet. – Eddie Cockrell R A

, B B R

Genre Society Category Documentary Cinema Year of Pro duction 2009 Director/Screen - , n o i

play Hans-Christian Schmid Director of Photog raphy Bogumil Godfrejów Producers Britta t k u

Knöller, Hans-Christian Schmid Production Company 23/5 Film produktion/Berlin, in co-production d o r with RBB/Potsdam, ARTE/Strasbourg Length 97 min. Sound Technology Dolby Digital Festival p m l i

Screenings Berlin 2009, Rio 2009 World Sales Bavaria Film International / Dept. of Bavaria Media f 5 /

GmbH, email: [email protected], www.bavaria-film-international.com 3 2

o Hans-Christian Schmid was born in Altötting in 1965 and studied at the University of Television & t o h p

Film in Munich. He made his directorial debut in 1989 with the documentary Sekt oder Selters follo - (

” y wed by the short Das lachende Gewitter , the documentary The Mechanism of the Miracle r d n

and the TV film Himmel und Hölle . His break through came in 1995 with It’s a Jungle Out There . u a L

His other highly-acclaimed films include: 23 (1998), Crazy (2000), Distant Lights (2003), Requiem f o

(2006), and Storm (2009). l r o W

Screening: Friday, 23 April, 4:30 pm, Saturday, 1 May, 2:00 pm s u o r d n o W

e h T “

m o r f

e n e c

20 KINO! 2010: New Cinema from Germany S

Kino! 2010: New Cinema from Germany April 21 – May 2 S T T S W S F W S F T M u r r h h u u a a e e i i o e t t u u n n d d d d u u n s r r d d a a n n r r d s s d a a y y d d e e d d a a y y , , a a s s

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G W o e y o t m h e i n - g I

n B u s i t l i d t i u n g t

NEXT GENERATION 2009

From rose pink to the colors of snow: it is images that make films. 2009 is a compelling year for German short films from our film academies. These films are wild, idiosyncratic and short … some even shorter. The films experiment with form and content, and sometimes with both together. Borders are opened up; passion has been lent wings. Although the filmmakers of tomorrow may be very different with respect to , their selected themes and fields of interest, they share the formal qualities. The diverse field of animation r e g n

dominates their aesthetic choices. The young filmmakers view cinema as a huge image machine, and so they a L

create images themselves. é n e R

The works are oriented on singular moments in the lives of individuals; decisive moments that point , r e onward, backwards, or in a completely new direction; moments that express the depth of longing and the s s i desires felt by the filmmakers in a magical way. e G

Amoklove is a love story. The interval of a heartbeat provides the rhythm, over which the narrative n i t s i lies: the poetry. Repetition is necessary. Over the course of only one animated minute, Rosarot tells the r h C full drama of being in love and falling out of love. Spatzen is an homage to the plan sequence, showing r s e e s n i the end of a love story. One night; a journey and permanent surprise. In the end, there is always the bird I a

, f K

p in the hand. Samsa – Hommage an Franz Kafka bows down to the great master, but at the same . o C

h l a l time it represents a visual journey into the creative production process familiar to every artist. i l o u J D

The cultivation of plants is a different creative process. In Sunrise Dacapo (12cm/stehend ), a con - , n m i e f h ceptually based documentary film, it is geraniums that visualize the limits of nature all too clearly. In the end, f c e a t S o the ram couples with the ewe and savagery wins the day. In Clean Up the moment has passed: all that J

a l d e n remains is to clean up the scene of the event. There is also description of the everyday in the film Keine g a n

r A e

Besonderen Vorkommnisse : two soldiers control a check point in the middle of somewhere. , n e n p u r I Don’t Feel Like Dancing makes us into voyeurs, and the shock goes deeper still. In the words of p b o P d l Gilles Deleuze, the decisive aspect is that “the anomalies of movement become the essential point instead a o n i G

of being accidental or contingent.” They certainly do that in these films, which were made at the various i N v

, E r

, film and art academies of Germany – and that is what makes them so special. Between gives us an e f s f s i u e

intimation of this movement in the image and beyond it, to the other side. Schneezeit allows us to sense R

t G

r a time, and Lebensader brings us back to a childlike imagination. a n n i r n a Here’s to a great screening! e L C

, z n e e t s M r Maike Mia Hoehne, Curator Berlinale Shorts at the Berlin International Film Festival i n K a

i , Maike Mia Hoehne, Cathy de Haan and Heinz Badewitz were the members of the jury who selected the t h s c a a b

shorts for NEXT GENERATION 2009 from 52 submissions from 15 film schools and art academies. b e n S

e , r k e c g e n p We thank for their support i l S l

o n B a

, m t i r T e

, h i r c r e u g l i Screening: Saturday, 24 April, 7:30 pm B

B s

s e a n i n b a o T 24 Next Generation 2009 H

) g r e b m e t t r e u W - n e d a B

e i m e d a k a m l i F

o t o h p (

” e v o l k o m A “

m o r f

e n e c S Amoklove A magical moment between two people in the subway, but then it is all over and they will never see each other again – wrong! Fabian fights for his love and chases Marie through Stuttgart. That is Amoklove : a declaration of love during a cardiac recess.

Genre Love Story Year of Production 2009 Director/Screenplay Julia C. Kaiser Director of Photog raphy Dominik Berg Producer Anja Goll Production Company Filmakademie Baden- Württemberg/Ludwigsburg Principal Cast Thomas Fraenzel, Anne von Keller Technical Details 9 min. 20 sec., HDV to 35 mm, color, 1:1.85, German with English subtitles, Dolby SR World Sales Filmakademie Baden-Württemberg, email: [email protected], www.filmakademie.de

Julia C. Kaiser was born in 1983 in Munich. After internships at Bavaria Film and Munich’s Kammer - spiele Theater, she worked on various productions at the Munich University of Television & Film. Since 2006, she has been studying screenwriting at the Baden-Württemberg Film Academy in Ludwigsburg. She has written the screenplays to several shorts and also directed the shorts Vigilia (2007) and Amoklove (2009).

26 Next Generation 2009

t N G B B A i D T e G h d n h m e u e e r i e e n n e

a m a x t a s t

e n t i f t e w t i i m i

r a l r o u k

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i d e n e t e l s l i a t i i n i

e s m o n u f e f t

e i n e d l l l w 1 A i 5 b m t , l r o

9 i i

o n a m i n t n m . 9 n s h @ t i g

m 8 i e g / i a e o e n

d . v e P n a n

v . i g S , e t r a

r 2 r i i e e s x

D n o f o 0 w d i x k i c o n 0 i t e d . g e p a

, c n 9 n s i

s i u

e o i s 1 s

B g A r b

c m . 9 n

e t i o e r m 9 h

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r a r 9 e t , w n t e

r ,

o n w t o o E i h T n h l t e x n

w l i

e a 3 m i 1

p l n

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S e

g s a

g 7 t r m h s

e B a r i 6

m i t f o n o b m n

k e i r t l e e n .

l r , t c i A n e

b n

a o W c f n t g r n e i o m a

t l e t c m w l

l i r w

o e

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. e n , b a D r

e i e 1 a k b v i d n i : a e o n r 1 e

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t y f s o t H , f

o e n f a o e e r

r o f

h P H o d e n o u e i - r t e a f f m

l o o s l a

o s s n d u e a e g P c n n u n u

e d i h e s n

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o t

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y , s o

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r g

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8 o

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y t i

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l e c D m W a t i t i p n r a m v w n l e o e

e a i e e

c r e x k a n l e t l e n

d c d o r n d M .

o l

r S e d F m ( e / s r 2 e a i S o s n s 0 b l

i m e l c 0 g i

l n o r s n 8

T a e 1

) o b V

e t 9 e p i i u s i 9 o c a n

r 9

h h n e o G p - i a n s f s 2 l u r

0 a i a a g o

c 0 V f n y r 2 u i a a 8 k i d / 7 a r - l , ,

Scene from “Between” (photo © Tim Bollinger) ) f f o l e i r T

n a i t s i r h C / g r e b m e t t r ü W - n e d a B

e ” i p m U e

d n a a k e l a C m “ l i

m o © r

o t e n o e h c p S ( Clean Up It’s his job to clean this special room, an execution chamber at a state prison in the United States. Every time there is an execution, he has to restore this place as it was before. This expe - rimental short film gives an abnormal view on the death penalty.

Genre Experimental, Documentary Year of Pro duction 2008 Director Sebastian Mez Screen play Sebastian Mez, Christian Trieloff, Christoph Arni Director of Photography Christian Trieloff Producer Christoph Arni Pro duction Company Filmakademie Baden-Würt tem berg/Ludwigsburg Principal Cast Josef Wittner Technical Details 9 min. 20 sec., HDV to 35 mm, color, 1:1.85, English, Dolby Stereo World Sales Filmakademie Baden-Württemberg, email: eva.steegmayer@film akademie.de, www.filmakademie.de

Sebastian Mez was born in 1982 in Essen. He was a trainee at a film production company and directed several social spots and short films. In 2007, he began studying documentary film at the Baden-Württem - berg Film Academy. His other films include: Pure Water (social spot, 2003), Reloop (2004), The Tears of Eros (2005), Do the Right Thing (2007), and Perceptio (2008).

28 Next Generation 2009

N G S I S d w G F W E v e c ( ( 2 2 o e e m o a c e v r

e a 0 0 l r l a y e x r m y o i a n r 0 0 n D n ,

g t e … t i r

s 9 2

G l n o i , a e r G : e e

) ) e t e r w 1 d h e . , o n

o t : i n e e D 1 s l h h , p H S

n d e

t . e V e c r 8 l e u r i b n

a i h s e r a 5 x b U “ r t e ö s r y t , K u o i s e i n

s u n o t E o t r i ’ l t i i f n a n v n E y n e o e n t

, ( e

v g n

n l K n r 2 2 a d r i l a D @

c 0 i a

0 e s

e s d G w e 0 i z 0 h r r t r F

h a 9 a . y

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a W

k f m

a ) f O P D l o r o - d , n e

p a f r o v o b d z N n

o o a F l r o l

Y f e b , t J u i e e d

” n l s

o y e J m n / d a u o u

e n a a D P k a

f b . c l e & c o r

o m

i T e r ü t g

h b

t ,

h . T s i

r h o d r

t i d e B e L J a m g r e o f a l l m i e e J

e e a m u

e v P w b c r i l

D . i i

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o o m o o 2 , a W k w e

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e e 0 h h D u n s “ o a M l 3 f

K s o g c x f o r n ) b - i o i

t e p , l p l m o e s

l d n i h k o M D o f r o t i r e o

l g t i l a i s S n c

s d a p , a t d

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, C a e

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e 5 s n e d h n r l a c ) n

w i n , i h r n g

t s P

n u B r i t o i o e g r e i r l c C t e l t a e a r n i a . h n

o s c b i f e l g H

e m r / A /

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i t d

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r l

e i m i e

a c r l a D t r m G m m o u l a s n i i n

o f a i r t s i &

o e l t e e s d u r M

P g l s F c a b r v 7 e r e g d t r a e

t i r u y o H m h e n t s n

n e

s r t a o s c i n f

n r n

e r c i f e

( . p d o h o i o h , 2 r n

e , s m a H f l 0 c

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r P 7 w “ t e u d a c h C ) K h c l e c , a

e e

o t h a : o t m

a i

i h n n i G s r n m t f

g r e

ü t d t o a e e ,

d g v D r g

f W

A e

3 a e i r F W o r s n 5 r a n i l p A l l t y

l m p h o g o m e o d G o c n l e h

n f m a 2 t p i ” n & S y o i e y 9 - f , ,

Scene from “I Don’t Feel Like Dancing” (photo © Hochschule für Film und Fernsehen “Konrad Wolf” Potsdam-Babelsberg/Gregor Schoenfelder 2008)

) l l e n i p S

e i l a t a N

o t o h p (

” s t n e d i c n I

l a i c e p S

o N “

m o r f

e n e c S Keine besonderen Vorkommnisse NO SPECIAL INCIDENTS Kosovo. It is the first German military deployment since WWII. Two German KFOR soldiers are trying to control a checkpoint in the middle of nowhere. In addition to communication pro - blems with the locals, torrid heat, a boring everyday existence and the question of whether or not a mine field is a mine field, the two also have to deal with their own fear.

Genre Drama, War Year of Production 2009 Director/Screenplay Lennart Ruff Director of Photography Jana Lämmerer Producers Daniel Schmidt, Juliane Husemann Production Company Hochschule für Fernsehen & Film München/Munich Principal Cast Tristan Seith, Oliver Mallison, René Dumont, Anita Matija Tech nical Details 12 min., 16 mm to 35 mm, b&w, 1:1.37, German/English/Albanian with English sub titles, Dolby SR World Sales Hochschule für Fernsehen & Film München, email: [email protected], www.hff-muenchen.de

Lennart Ruff was born in 1986 in Mannheim. He worked as an intern for several commercial produc - tion companies, as a location manager and produc tion assistant for German TV and theatrical films. Since 2007, he has been studying directing at the University of Television & Film Munich. His other short films include: Grenzfall (2007), Little Jerk (2008), and Kreislauf (2009).

30 Next Generation 2009

N G A L p e 1 M A F a A h A w i e v : e l l n c

1 e n m a a a r x a l i a .

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t d t e r e e k 6 G / a i l e p s e e a m t , A l e b e

( i l a d

o o n i 2 g y n g n A e

n e m , m 0 n

i m S e i r

n r G 0 g o m a a a l S t i r 5 i

y e e t a c e f ) f i e n a r

d i i h o . a f l d n m r m B t o u n t f @ i d i i e a a a

o a o 2 o s d s t l n n L f l n o 0 i

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n g

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, d d k t s

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b a ü

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r g o 9 m r d S e o l i , n l . l e t m

d e

a b r i e

e D

a d r y r i f b w . n n e f . d

u e e

n ( e o H r n r D 2

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n &

0 e t P R / l a w h g d r 0

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l t g e e c m ,

u r e t s

r r e f h d b l g F

i a l r d e p a

m i a u k e s

r m a r

n s s l e I g d e

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s l e i 1 i a S s y n i n h T o m t 9 f

c j e a i . e e u t Y 7

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Rosarot ROSE-COLORED A short film about the aberrations and confusions of love.

Genre Animation Year of Production 2009 Directors/Screenplay/Animation/Dir ectors of Photography/Producers Ines Christine Geisser, Kirsten Carina Geisser Pro duction Company School of Art and Design Kassel Technical Details 1 min., Digital to 35 mm, color, 1:1.37, no dialogue, Dolby SR World Sales Ines Christine Geisser, email: [email protected], www.trickfilm kassel.de

Ines Christine Geisser was born in 1982 in Naila. Since 2006, she has been studying illustration and animation at the Kassel School of Art and Design. Her other short films include: Das reicht bis nächstes Jahr (2006) and I Need To Buy Nailpolish-Remover Tomorrow (2008).

Kirsten Carina Geisser was born in 1986 in Naila. Since 2006, she has been a student at the Burg Giebichenstein University of Art and Design Halle and as a guest student at the Kassel School of Art and Design. Rosarot (2009) is her first film.

32 Next Generation 2009

S f N G A S S R F 1 r d p f ü i e i l : i A e u l n m s e 1 r

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Schneezeit SNOWTIME Snowtime is a filmic meditation about the essence of time. For decades, Oskar has been living in a lonely cottage in the middle of endless, snow-covered fields. The past and the future, memories and the present superimpose each other in this constantly frozen landscape until the borders between time become so thin that it appears one could transcend them.

Genre Art Year of Production 2008 Direc tor/Director of Photography/Pro ducer Hannes Burchert Screenplay Jan Oldenburg, Hannes Burchert Production Company Hoch schule für bilden - de Künste/Hamburg Principal Cast Andreas Thiele, Wilfried Thiele Technical Details 15 min., HDcam to 35 mm, color, cs, no dialogue, Dolby SR World Sales Hannes Burchert, email: info@schnee zeit.com, www.schneezeit.com

Hannes Burchert was born in 1980 in Itzehoe. He studied film at the Academy of Fine Arts in Hamburg until 2008. His other films include the shorts: Es regnet (2004), Stunden weit entfernt (2007), and Anja, Tanja, Heike und Mareike (2007). He is currently preparing feature-length fiction films.

34 Next Generation 2009

t N G A S S S E P e J K V i g B n h a r t p m n a e c e r

a . e a e e g n r B x l m o n a d r u l n p y l c t s i

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e n e c S Sunrise Dacapo (12cm/stehend) SUNRISE DACAPO (12CM/UPRIGHT) Nature from the assembly line. An observation on the growing of geraniums in mass produc - tion and the coherence of noise and silence. The beauty of nature, apparently perfectly repro - duced in artificial surroundings.

Genre Experimental, Documentary Year of Production 2008 Director/Screenplay/Director of Photography/Producer Nina Poppe Production Company Kunsthochschule für Medien Köln/Cologne Length 5 min., 16 mm to 35 mm, color, 1:1.37, no dialogue, Dolby SR World Sales Kunsthochschule für Medien Köln, email: [email protected], www.khm.de

Nina Poppe was born in 1979 in Münster. From 1999-2003, she studied photography at the Utrecht School of Arts. Since 2003, she has worked as a freelance photographer and curator in Cologne. Since 2005 she has been a student at the Academy of Media Art Cologne. Sunrise Dacapo (2008) is her inter - mediate diploma film.

36 Next Generation 2009

N G T Y T K f N s A d W T c u m a o y a i e o e o b m m r i s b x o n o t e b n s t o t i h e g

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With the support of

Credits not contractual for any of the films mentioned in this publication. Screening schedule subject to change.

Published by German Films Service + Marketing GmbH Herzog-Wilhelm-Strasse 16 80331 Munich/Germany phone +49-89-5 99 78 70 · fax +49-89-59 97 87 30 email: [email protected] · www.german-films.de

Editor: Nicole Kaufmann

Contributors: Laurence Kardish, Eddie Cockrell

Design: Werner Schauer, www.triptychon.biz

Printing Office: Solarz Bros. Printing Corp., New York

38 imprint German Films – A Profile

German Films Service + Marketing is the national infor mation and advisory center for the promotion of German films worldwide. It was established in 1954 under the name Export-Union of German Cinema as the umbrella association for the Association of German Feature Film Producers, the Association of New German Feature Film Producers and the Association of German Film Exporters, and operates today in the legal form of a limited company. In 2004, the company was reorganized and now operates under the name: German Films Service + Marketing GmbH. German Films’ range of activities includes:

■ Close cooperation with major international film festivals, including Berlin, Cannes, Venice, Toronto, Locarno, San Sebastian, Montreal, Karlovy Vary, Moscow, Nyon, Shanghai, Rotterdam, San Francisco, Sydney, Gothenburg, Warsaw, Thessaloniki, Rome, and Turin, among others ■ Organization of umbrella stands for German sales companies and producers at international television and film markets (Berlin, Cannes, AFM Los Angeles, Shanghai) ■ Staging of “Festivals of German Films” worldwide (Madrid, Paris, London, New York, Buenos Aires, Moscow, Copenhagen, Stockholm, Tokyo, Sydney, Melbourne) ■ Staging of the “German Premieres” industry screenings in New York and Rome ■ Providing advice and information for representatives of the international press and buyers from the fields of cinema, video, and television ■ Providing advice and information for German filmmakers and press on international festivals, conditions of partici - pation, and German films being shown ■ Organization of the annual Next Generation short film program, which presents a selection of shorts by students of German film schools and is premiered every year at Cannes ■ Publication of informational literature about current German films and the German film industry (German Films Quarterly), as well as international market analyses and special festival brochures ■ An Internet website (www.german-films.de) offering information about new German films, a film archive, as well as information and links to German and international film festivals and institutions ■ Organization of the selection procedure for the German entry for the Oscar® for Best Foreign Language Film ■ Collaboration with Deutsche Welle’s DW-TV KINO program which features the latest German film releases and inter - national productions in Germany ■ Organization of the “German Films Previews” geared toward arthouse distributors and buyers of German films ■ Selective financial Distribution Support for the foreign releases of German films ■ 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. a profile 39 GERMANY IN CANNES 2010

Meet us at German Pavilion # 127 International Village