ROSALIE THOM AS S KAORI MOMOI

FUKUSHIMA, MON AMOUR

a film by DORIS DÖRRIE A uni versal and poetic tale about li fe and letting go f rom a cclaimed wri ter-di rector Doris Dörrie (BLI SS, CHER RY B LOS SOMS – HANAMI, NOBO DY LO VES ME, THE HAIRDRE SSER, ENLIGHTENMENT G UARANTEE D, MEN). For the fir st tim e, one of her feature films has been shot enti rely in Japan and in b reathtaking black and whi te. SYNOPSIS lmfestival van Berlijn in 2016 en sleepte daar twee fi lm schildert ze in indringende zwart-wit beelden haar beeld van de overlevenden die nog fi VANAF 6 OKTOBER IN DE FILMTHEATERS prijzen in de wacht. FUKUSHIMA MON AMOUR ging in première op het iedere dag geconfronteerd worden met de enorme impact van de ramp op hun leven. Regisseur Doris Dörrie keertzelf geschoten na Cherry Blossoms (2008) terug naar Japan. Met deze in het rampgebied met haar deachtervolgd puinhopen worden door weg spoken uit te het werken. verleden die Gaandeweg ook opgeruimd wordt moeten worden. duidelijk hoe zowel Maria als Satomi met de bejaarde geisha Satomi terugkeert naar haar verwoeste huis in het besmette gebied. Marie besluit er stil te hebben gestaan.komt Vuilniszakken Marie met vervuilde erachter dat aarde ze staan keurig niet opgestapeld geknipt is langs voor de weg. haar Al taak. snel Ze staat op het punt de benen te nemen als ze Op de vlucht voor haarhet problemen in 2011 belandt door de een jonge atoomramp Duitse geruïneerde Marie Fukushima in de Japan. pijn Met van ‘Clowns4Help’ de bewoners wil verlichten. ze in De tijd lijkt R OSALIE: I often fall into a state of pan ic when I think about the direc tion my li fe is tak ing. Am I spending my li fe with the right person? Do I hav e the right job? Do I loo k right? Do I earn enough money? Am I mak ing enough of my li fe? Am I ha ppy? Should I liv e differently? And so on an d so on. A perman ent floo d of quest ions crash ing ov er me an d fill ing me with an xiety. I can ‘t help but worr y all the time. What if? What if I lost everything I care for? How far might I fall ? How do I st art ov er? PRESS NOTE f t e d o n h nd mi an T a a n ece N o n co- d r i r t o n i i a a o ct os s in lm debuts. B u i enden) p f A d S usici . o r lm tz. he n i m t pr n e vo uce l F ed L s d a lm a o lm received funding i held r i b line f p o nno eder h- e r a c F ler h a d H T C n a uni a t f line S o F ( M m n Olga F t r D h a a e y was t nd h h u G t a s p i R a e r er lm, Z s), h i g r t pt, or o UR i de Z r n, r O r c in F k o t s e M c phot B n y i a a f t t tr he o B a t r N A P hou ons te ds t to O i C nd ro ec M on a W r F w s h n lize, e ie s o w . ucer he di n rr o y t d l r r ö e o y R HIMA, s, C F D to b S f pr c m o l d a i is e f e t r F er a o b h ie uc ci r D FUKU d tc r m m Film o so ö s ro Ma a D pr Arte (Andreas Schreitmüller, Olaf Grunert). f German Federal Film. International distribution is handled by me Kamata (member of the band Coconami) both making their . l i r e g y n y a f l o lie n ris e te ic) i r vo o t m on sa i err t li i t D o h t es y wr n j l a ou undi Ro l e : s M (C er b o r y fo n i a it i e b Ma e r en r M ( s h y o d t r w uk a be e n y iz nn K nd e a hen ( sto r a l a e I o toge has r p m c nd m the C s e s a ya etic rr ck ler ro m ar e e l f g A i e) h po f ba nd ü H c y a e m K os n UR b is r a r in a nd O u e ) M y a t d t to r 8 m . a e l M r Ch a r t e j ec a f a r A 00 t he ite sa r t n t s r o H 2 h e e N e ( p w B s her B l di i O iv r a f , r UR up m r wn s M o n s nd O a to o o a l uce i e n u me t M c ne d k a b l a un p o ar i l c o , H e n tr um la t ce e y pr a N A – x e b HIMA, N o ic , S s O t im dis g r e e t Th e n s m d M ri n s st e r o a ki m lm, e r s i ei ö f a). s fi ag m h tri FUKU D r e n s lo sh e r a i o A he B s in e s nz t u i G l t r HIMA, a y r a G a S g o d in o e rr f in m nd F A a an a . roles ne nd g f w o r D n a a e g g, Che Ei O a r to n ( s FUKU g p a of a n rs ec main be h i J r t t n e i ms), t e h ie h o ess t le moi r mass s h her W T s c t in r e t o r i o os ö l ü nd nd di M B W D a sh suc a F Th ( In 1985 Doris Dörrie made her first trip to Japan when her film Japan itself. In November 2011, some six mo nths af ter the c atastrop he, Mitt en i ns Herz (St raight Throu gh th e Heart), was pr ese nted at the I trave lled to Fukushi ma. There I had t wo enc ounters that were the Toky o In ternational Film Festival. “I was so fa scinated by Japan th at I impetus for this film. I met an old m an standing on the foundations of hitc hhiked throughout the c ountry and took pleasure in getting lo st. his c ompletely de stroyed ho use. Half a year af ter the c atas troph e he still Again and again, to ta l strang ers took me by the hand and sh owed me the hadn‘t rea lly graspe d what had h appened to him. He had lo st his whole way. I have seldom felt so car ed fo r and coddled in a strang e country. And family, his house, his possessi on s, his entire life . During our conversation

STORY this feeling made a deep impr essi on upon me: being a strang er and being he repeated ly s aid the words: ‘I c annot c omprehend what h as h appened car ed fo r.” to m e.’”

THE Since her first visit, Dörrie has been there some twenty- five times, Dörrie subsequently vis it ed the Port acab in shelt ers, the “Temporary has tr avelled through a ll p arts of the c ountry, imme rsi ng he rself ever Housi ng Communities” in which vi ct ims of the catastrop he ar e stil l livi ng OF more d eepl y in Japanese cu lture , and also repe atedly thematise d Japan tod ay. The re she met old pe ople, pr edomin an tly women. The yo un g in her filmmaking. Her first film to play in Japan, Erleu chtu ng g ara ntiert had le ft the region. It occurred to her that these Housi ng Communities (Enli ghtenment Guara ntee d, 2000, w ith Gustav Peter Wöhler and Uwe were d ominated by boredom and stagnation. No one took any c ar e of Och senknecht) and al so Cherry Blos soms, 2008) both tell their sto ries the people there. “ The encounter with the old man and the visit to the

BIRTH fro m a German perspec tiv e featuring German protago nists who travel to Housi ng Community fo rmed the nucleus of the sto ry that I wanted to tell. Japan. The start ing point of both plots was Germany. With FUKUSHIMA, I started to writ e abou t an old wo man in the light of these impressi on s. A MON A MOUR this is di fferent for the first time. Japanese woman. A nd this a lt ered the pers pect iv e from the outset, fro m THE the outset the story was di fferent to the films I had previously shot, it Doris Dörrie describes the creation of the film in the following terms: havi ng a Japanese pers pect ive ,” says Dörr ie. “The starting point for FUKUSHIMA, MON AMOUR was this time in

SATOMI: Memories are painfu l. M ARIE: So having no memories wo uld be better. SATOMI: There is no es cape. This is your only li fe. Missing so meo ne is li ke li ving with ghost s. PRESS NOTES t t s e e y y y y o o d d d d h le s l a t s in r r r d ds b e c e e r e w e t h a a her r n e e real t oo fi t ab to t, a r t a e hi iv en on g r k t o e o t a an y i n im ct w a d o sh people n h a n p p r p l fo nd e i , t h a di p struggle l a a w e nd s J hi h l m an s und re s ic r i t s a e e h p o b as action t nd ea. n rt r he ld heir T to a ur u on s he t a the t a g ys i c o op t s o o ar s as t r t a r p e k e y u a, he a t n o the t is a r s c o ce l t le nd t t t I s nd c e he l a lm, a o a id n t a a n i o a o ma ts nd p i b t f l a gg ” f in g. . a o n o e y m a l pr e di ic l u o s , ur d n s r e t u e h a y e s o oky e o n f y l t l c m t e w e Ka the h i i lm t makes T a mi r a i a t o s t iv l mot g om n f t a r understand for t W a n e e is p of g g a “ r au mi g r o h m in b h ue e n e t a s he e n mem e logi t n in r g to s t: q e T t t r li as a be lmmaki w f M b n arc N o i n n e e n i w i h iv f i o o se i y UR e e t p in ndi e c o yi f o t ld a is h r cult to o O bl h fl nd t t y a in cis p on i t u t he s e n f p a a plot , a e ds t h ty he f l e M s C i t h t y p d l edi o e t p ar les in en . wo A iv a di t his r r a m Momoi. y t t UR e t f r c w e in i r w hen a a ru nd N y be l r o o r O ro n o r i n o had basic h a a f t r f c r omass describes it in these terms: “I e ” t O a . o s, I and sto n ö M o C nd w v h y o ’ l this t a o t ps r M na le l e T D i c Kaori on the ee et o t i den y nce l a w s l t ty r a s N A l op a ime i el sto as a r e a he c t s l t nds its physical manifestation alone in the r e e l u n oshe v t s i for c O i s t a a o f and b h pe e a ar o e e or M c lo s a o l uccin l ma. A M he d e o r i le s c s t is l t u c e y o HIMA, he he t g s a f , h t i y t k t S y goes y l i n nd o r , T w hief l l n h nab n a es m e o a e t g. And this is i e ir c i t a complicated ” expl s omass t a , i s r v nd a igin a n iv h t h a r ty laces mni w d g i s HIMA, c T o he inimas s f s tor a e p same e w mi S i a t r m mo u FUKU t c ts hes d y is is s o o o e t un a lm c l d w s M m a f on l i r ie tc e h i h f in f me tim a o y m Th t t “F ni a s c d bu T a l ‘ o rr a f a sto a pp t l nd d in w a t. m w ö c o u a t, a a a ad , e FUKU m o o n c a o Rosalie ic ago e e e h D , ener l r o f n t st he s r l h p ris C ic g c l t o t d o e ar o w t action r o i f me e g s nst t e script. t t e ac e ris nd i n e p i ee a pr n D a w v er ni a o r o hi ar nd h o ar i f a o g the ty tangible. a k t s y et D T i el uis he ks h a ty n usi ast a r n Y t arc t v q s al m o c o i ho l e vi f nd n e hi his i t. t in o i o a d r by the w a f i l t t l sto is made tangibly real. wind i H l principals and o ac is m di w would not be possible. Rosalie . , . . , . t t t s e e e g ” g y p r r s. e n r l p a ty r o y v g h e e i n n u s a o a o u l h i a a u s n m t n i t t eed u t st p g. l s hi or e- h i t g i b c g o o t n f ki ienc k m ” o Z n i n ld e u y o elf n l r t gs o e n i a s u e c ne me ea e h k exi r o tr hi v h n k shooting r a a o lexibility. c t s p fl e o o ar fi t r f i om c ne b f s y w l lmmaking s b t u i o r t th tr ot o ex in u t c in f s h e be , a ma a in a s le- a wo f G a t g cult ‘ f sh g v t i i la as m t h P w o h n in t o I e n em t tz he thi n ff i t ru e w t a w “ r i t t n n r g i f e g own a n e di t si – e d f her les n o hen s n u nni a e l L t o m m ucer e c m. t o i a o r w lim l u ru a a d ler n o her h eni y haos p t l e o e e t in a m fo o d em with t t r p n arg w a a o h d, a C nno his t is st le h o ic t , u pr e g es t I a t g b an increase s S le h e er g k u y e c . a ma sy l t d l b H si a “ h t sh i o p b b s s n t nli th r na o n f line u w m si o em u h E a irs a n he u edi o s o f t el ( p t ou e r h as a l a R st n a o v m t ts, c m c s a. A h t a developed nd P ‘ countries n e le ne p t a t r n u n a is i p a i o y m inc O s a a t a ty ll in ie gs c rt e – l J p s t n w ucer has D o d a i ti D t, n h u nd s t a mer n o d s t g o a ic is doubtless lm ushi a a hi h e o m ar i t, the sy o b n n t c t k f he rt t in v e ied i her a a si n h t t ar w a u a pr o y ki s o do w o t a g l k is o to F t p t, h o e h eg s s up r en h r l t Dörrie ty g g c t b ll i h u a tme a r kn t c cal p a wor u r h be i g p h a wo t, ci t sh o e u a I t yo hi y i n w i a tun ” t ro . w p t b w o t so h- if h h e e w ll r , a s s has t , in c o c en Doris d s gs e a Th h a (2008), possible o e f u fo o p d w n t do h, ca li maki o e e n w he h o h s t leu t m t hi s o h t e i r it‘s ty cant advantage t a ienc t ts t e l m ler c i i e pp a e i MS ce l r E l r ume de f m; w t a y a i ci d years, h i d h e g n f a g u O t st n a t b t h e p m n ursue. t n so a ts ie as g t or t c i r i h i si i f S r p team her n r f s c u was the ex e as signi t m e f ib teen w a OSS u o d e no r ki tr p hen o hi if y or n L d to g p c y s t ur um, a l f t, a co n l c s o w an o o a n t n s, as al e m s m d ’ r he g e o o n h e kin e e nd ie t Y B t was i er e t s r smaller o was fo a , de u m r p in a R n over e most i en t b n d rr u e r t t I b a n a g o ks h e t i i e rt I mini ö i t a ö c t r he c g n be t n a “ I In T el m the ex i t e r a D is structure is born from the knowledge that digital technology has a u u D t v n p u ys. nd e e ö t h h e a o ro ar f y o r o tr d D yo Y T b le de d o 2000), F as c CHER ar has T c s c b With Doris Dörrie and Rosalie Thomass first met by chance when chatting today. For Kaori Momoi , who is very f amous in Japan, it was clear fro m after a film screening at a festival. They then continued to cross paths. the outset that s he w anted to be part of this thrilli ng film pro ject. “She When Dörr ie to ld the yo ung a ct ress that she was i ntendi ng to sh oot a was absolut ely de termin ed fro m the first mi nute ,” says Doris Dörrie abou t film in Fukushima, Thomass was initially impressed by the bravery that this fo rtuito us piece of ca sting. One i mport ant reason to ta ke part in the made the director want to film in such a region. When Dörrie o ffered telli ng of the sto ry fo r Momoi was that hithe rto no Japan ese filmm aker has her the main role of Marie, Thomass’ first impulse was that she felt dar ed c onfro nt what they c on sider a sensitiv e top ic. The rest of the ca st is like go ing on this journey w ith the di rec to r. “A sensation al script and a principally l ay a ctor s, l ike Mos he Cohen, on e of the A meric an fo unde rs fem ale chara cter who is wo nde rful as s he is al lowed to do so much” is of the NGO “Clowns without Bor de rs”, who fo r m any year s has be en how Thomass described that first impulse, elaborating by saying that the travelli ng the wo rld from one di sast er zone to the next. This NGO’s goa l is cultural opposition between the two women in the film was something she to bring a m ome nt of l evity thro ugh clown perfo rman ces and wo rk shops fo und part ic ularly exciting; the one havi ng run away fro m home bu t then to regions of the world where life is currently particularly di fficult. havi ng to reco gnize that her prob le ms ar e tru ly first wo rld prob le ms in the tr ue st sense of the wor d c ompared to tho se of the pe ople she enc ounters An other lay actress in FU KUSHI MA, MO N AMO UR is Nam i CAST in Japan. To Thoma ss, it is a very po etic and un iv ersa l sto ry abou t p ain. Ka mata, an i nhab itant of Munich original ly from the Fukushima region who Doris Dörrie has wo rked with fo r year s as a musici an. As a member

THE Do ris Dör rie descri bed the heart of the plot in the se term s: “The of the Munich-based duo Coconami, she c on tributed to the soundtrack yo ung woma n l earns something very Japan ese from the old wo man, and of Dörr ie’s mini series Klim awec hsel ( Midl ife Crisis), and the film Alles that is attitude, attitude towar ds one‘s own pain. Yet at the sam e time , the inkl usive (The Who le Sh ebang). So the di recto r was a ll the h appier that sto ry is also abou t how this old wo man, who is indeed very to ugh at times, fo r biog raphi ca l reason s Nami Ka mata was keen to partic ipate and also receiv es something fro m the yo ung Germa n, and that something is was prepar ed to appe ar in fron t of the c amera in her n ewest film. Old the i nvitation to br eak ru les and to somehow sof ten up towar ds oneself.” acquaintances from the film Cherry Blos soms, such as buto h d ancer Tadashi E ndo and a ctress Aya Irizuki again took sm al l roles in this film. A sto ry of two wo men who se backgrounds ar e so comple tely di fferent yet who ar e both c aught in their own past and who together le arn to free And the film team is particu larly gratefu l to the occupants of the themselves from their personal memories … filmed at the location of a Temporary Housi ng Community in Minamisoma, who receiv ed them tr iple c atastrop he w ith l ay a ctor s an d l ocal inh ab itants who still l iv e the re with open arms and took part in the film.

M ARIE: I see ghosts. SATOMI: I kn ow. You att ract them bec aus e you‘r e unha ppy. You‘re carr ying a ghost on your back , so meo ne you‘v e lost. Marie weint. Marie cries. SATOMI: It is all a dream. Our li fe is a drea m. M ARIE: I want to wake u p. SATO MI: Then wake up. M ARIE: But how?

THE FUKUSHIMA CATASTROPH E o o m re t o o h people csixty o kilometres hundred one enough only lasting quake, brief the motion: C t unc o ei r he he e f n radi f f f c i g o ac l t a c e 110,000 t h t a t t b u h n o a D T o seaquake 9.0 powerful a 2011, 11, March On Th h F e h to t s y s r n ce a r t u sixe h p e ue e r i r t t e e o k o t a e ence . i ro o In c ethe o o r ushi l a f disaster o to ac a J s, ce n radif s ll a u t to ma t ta e a a p e t n n set t r r ecl to s s inland, i d an l he t a e t v n m t un a ni in l r r ac nnes s i ( y a wors n y op yety a e e a a o ono ti , a pp r t s t tor J f r sstillis tleme s o elea i mi a es a e f he o egi l p l n a a ro ns m n. n m exs ti t-ca o a nd a in f f u a nese x. l wf o l se if m o u y ooding n c N hadn s teen-metre C e n ar d l 30,000 wasd a H osdrdtheconsidered et s p e d u a ts, h t e a ee o e One. ter on i c e r n o r s n l n r ienc e a ce t n n s p u s nd i a t t w t h o rel o h he c i r f na o o m b s i u l w e e ve E e q f y r e b d dey ta h r a a er d s u e v l cd e i t . t und r taet e hundred a ar o o ki e he D c tidal e n y d , v s o su e va n ue t t o g s er n o a a t g k i r r S p t c 150t f t r t vi c e e i worst o a t i c o h b e t l u t o d o wave mi om h a n ta r yi h y a m a n l t vi l e g in e e t an he n l t e n e . etidhe o e s and i di b mg d iv l r thet a o t r d t f nuclear i r ad t r d e s l r htinthat es e f e es) F li a a ro cy o se a d u o st c io sixty o wn c , o eun ti v m k to r e a maxi o 750 f a e o e ushi r o wl f . r n c o mmi n t J t a A accide t h ty v a accident h r part one dsi nd i and a p rnineer o i heir os. to gg v a m m ve a drf f t n i t f nnes n t h s r mrum a . y si eg h aaeeEast Japanese the square ou f reached s A w o i D n g u a o o f a uses as t, ni m ty o r den s a t f t face an e o a ic thesince a ii e fi a h d t eod,wasseconds, p t f en c tic he c r i u d p iwsal was hi n w e d a d kilometres n c r s a g n a pe hi t o ue l d u e nd up m r ar h t xim o v r l e c o t, op ed f e re ag e h le t u a to n se o d t l 1986 s a es einle w a sints h to e a an t v se t ten t a r his e e nd ta en h s e s t r l d d o o y e e e e l h F D I h S p P pr c hel le f h o l w a n i o h u tt tt f s orst o o a a t u il fo u rt e p:// p:// i v ii e w w t d kaemia l ld r f r r e c e dher A O T h ces ec m er er , . hi r r di e h be ww ww t em A c n f a en t h e f n c ti C s u o l i o nien y u si or t ilyconcially n a o a w w re. o a a c u t n s r g . an . a wo l t in m r g t ast e ding s e i ni hegu ece pr o a r a a o a ns ee nd p d r rk f n n t fi o - rzer o a h on n p ds tr vid c n thef yo n o i c pe o a ar a cs t u n h y w to wt e n l e o di ro ac u c y o t er d (TEP t wo f f o h in, t n a n i n e e t inc e pe m n.c b mdta hr a aslcneto ewe the between connection causal a was there that rmed a s c . g o e he d or t y y n a lo r a , p u op t o ti k o pe · g t r br g f a le o c Oc m/e p C o er ea n o y l s er n: e le t o dr t ta u o O), s a e h s r a p a o to r a cl l h n op e tt s k t t y u ehsal has le d p tt o vi ti e p:// le b in e r t TEPr o l p://ti se i cades ces: he ro he- ll y a r2015, er t w o r t w w cu nme l rser s he n iv n p w pea s h il n g- u re tr e tt C o w l t yur n c a n p:// wer O ta t in .s u . t ti l u t/ e ki co s e p c o r l k o m f o a .c ie k eme u b n: m n e n r o log. k g t b ome mg p b he s u m/ e ushima h p t er a edeche r een l t tt p d · .de o o a nd s rg p:// o w af t vince t o J x8x o i . o a en ecast. er f o r r p E ww r l a e n eg h y o e k an v c n s tt mmi p m 3· e3 y nnen t t o o u w p:// a h o or i e s p ther p .wi l s t a r s a h i g h e t e t n s o s her ww h e e r k t si a o n tt lt ind i a i M t o l p w p://ti ic e fo t w l a w ni edia.de o r , a ini uni nd .ze mo s. r n il r l a th ty g l lmo i T s Th n t n t.de t n o t he yur he ok y e c r f h il e s e y h t a li s s ar he l y e p i F es .c t b o fo n c o o u s i o n fi ks. F habi t s r m/6y a ku u ab Electr u v t m p n k e H he u shi le e t on y s il t ea op j hima a e d a had t m n ar g l r nd he l t xa i ts s e h a c s t , SATO MI: When I got ho me there was no thing left. What wou ld you do if that ha pp ened to you? Bodies lying aroun d? Clothe s an d books , pho tographs an d fu rniture. If there was no thing left anymore? If your wo rld had completely ceased to exist? If you ha d lost ev erything? What wo uld you do then?

Munich-born actress Rosalie Thomass was still a child when she started We saw her most recently on the s ilv er screen again as Jo in the third gatheri ng ex perience as an actress at Muni ch‘s Volksthe ater and in the part of Rosenmüller’s Bavarian tr ilogy, Best e Chanc e (Bes t Chance, 2004). you th the atre grou p at the Muni ch Ka mme rsp iel e. While stil l at school , she In 2014 she w as also p art of the prominent ca st in Das Zeugenhaus ( The de buted in st ude nt films and larg e tel evisi on pr oduct ions, in cl udi ng Vivi an Witnes s House, director: Matti Geschonneck). 2015 saw Rosalie Thomass Nae fe’s Leo (2006) and Tim Trag eser’s Em il ia (2005). Rosalie Thomass first appe ar in two German c omedies, Taxi (direc to r: Kers tin A hlrich s), in wo n br oad reco gnition playi ng the self-de str uct iv e pr ostitut e Maria in which she appe ared op posite Games of Throne s star Peter Di nk lag e, ROSALIE Dominik Graf’s Pol ize iruf 110 – Er sollt e to t (Polic e Cal l 110 – he shou ld and Highway To Hellas , under the di rec tion of Aro n Lehmann. She also be d ea d, 2006). Her performan ce wo n her many acc olades in cl udi ng the appe ars on-s creen in Lehm ann‘s complet ed satire Die Letz te Sau (The Grimme Awar d and the Bavarian and Germ an Tel evisi on Award s. Last S ow).

Directly after completing school education she first FUKUSHIMA, MON A MOUR is Rosalie Thomass played the ro le of Jo in Best e Zeit (Good Time s, 2007), and Doris D örrie’s first c ollaboration. THOMASS part one of Mar cus H. Rosen mülle r’s Heim at tri lo gy that ce ntres on the t wo schoolfr ien ds Kati and Jo. In the se con d part, Best e Gege nd (B es t Region, 2008), she SELECTED FIL MOGRAPHY was n omin ated fo r the Undine Awar d fo r best yo ung 2016 Fukushim a, Mon Amou r, Directo r: Doris Dörrie ta lent. This w as fo llowed by Markus Goller’s pop ular 2015 Highway To Hellas, Director: A ro n Lehm ann

succ ess Ein e ganz he isse Nummer (A Re ally Hot Taxi, Director: Kerstin A hlri chs AS Numbe r, 2011), in whi ch she played side- by-side with The Dog Wedding, Director: James Le fkowitz Gisela Schneeberger. Rosalie Thomass was not only 2014 Best Ch ance, Di recto r: Mar cus H. Ro senmüller MARIE to be se en on televisi on in Hermine Huntgeburt h’s The Witness Hous e (TV), Di recto r: Matti Geschonneck Neue Vahr Süd (New Vahr South, 2010), whi ch was 2013 Lif e Is Not For C owar ds, Director: And ré Erk au dot ed w ith both the Ge rman C omedy Awar d and also the Grimme Award , Koh lha as, Or The P roportionali ty..., Directo r: A ro n Lehm ann but also in cinema films Die Abenteuer d es Huck Finn (The Adventu res 2012 The Adventu res Of Huck Fi nn, Directo r: Hermine Huntgeburt h Of Huck Finn, 2012, di recto r: Hermine Huntgeburt h), Kohlha as oder die 2011 Ein e Ganz Heisse Nummer, Director: Markus G oller Verhä ltnism ässi gkeit der Mittel (Kohlha as, Or The Propo rtional ity Of Means, 2008 Best e Gege nd, Directo r: Mar cus H. Ro senmüller 2013, di rec to r: A ro n Lehm an), whi ch was awar ded the audience prize at A Wom an In Be rli n, Directo r: Max Färberbö ck the Max- Ophüls Festival and the entire ca st of whi ch took the German Kneissl The Thief, Directo r: Mar cus H. Ro senmüller Actor s Award , as well as appe ari ng in Das Leben ist nich ts für Feiglinge (Li fe 2007 Good Time s, Directo r: Mar cus H. Ro senmüller Is Not For C owar ds, 2013, di recto r: And ré Erk au) as bubbl y Pa ula. Toky o-born act ress Kaori Momoi is con side red a legend in Japan. She Yôji Yamada and as best l eading a ct ress in Mo Hozue Wa Tsuk ana i by is best kn own i nternationall ly from The Sun (2005, di rec to r: Alek san dr Yôichi Higash i. She h as receiv ed three furt her no mination s for Japan‘s Sok urov) and Memoi rs Of A Geish a, (2006, direc tor: Rob Mar sha ll.) Genre most i mport ant film prize, mo st recently in 2007 for a furt her wo rk fan s w il l recognize her fro m Takashi Miike‘s Su ki yaki West ern Dj ango, with Yôji Yamada, Lov e And Hono r – Bushi No Ichi bu n. In 1983 she was the spaghetti-west ern-style Japanese film fro m 2008 featuring Quentin awar ded the best act ress prize at the New York In ternational Film Festival Tarantino. Kaori Momoi has also a cted w ith Wil liam Hurt, Maria Bello fo r her perfo rma nce in Susp icion under di rec to r Yosh itar ô Nomura. and Krist en Stewart in the US indie dr ama The Yellow Handk erchief (2009, di recto r: Udayan Prasad). Besides a ct ing, Momoi purs ues v arious film projects as a producer, directo r and scriptwrit er. Her most recent film pr oje cts incl ude a mother- The daughter of a professor of politics and a daughter trag edy with the title Room, the sh ooting of je wellery desi gner, Kaori Momoi grew up in Toky o. which is to ta ke place in Mexico. Furt hermor e she

SATOMI At the ag e of t welv e s he m oved to Lon don to spend has her own je wellery c ollec tion e ntitled Momoi in three year s at the British R oyal Academy of Dance. Maki. As a singer she has released fifteen records and After her return, she gra duated fro m Bungakuza or ganises jazz events in Toky o. AS School of Dr amatic Arts in Toky o. She first appe ared on screen in 1971 in Kon Ichikawa’s To L ove Again. In the fo llowing year s s he be came one of Japan’s SELECTED FIL MOGRAPHY leading a ct resses. She a cted under Akira Kurosawa 2016 Fukushima, Mon Amou r, Directo r: Doris Dörr ie in the Japanese film classic Kagemusha (1980). Her 2009 The Yellow Handkerchief, Director: Udayan Prasad MOMOI ro le in Why Not? (1984, di recto r: Shôhei Imamura) 2007 Suki yaki West ern Dj ango, Director: Takashi Mii ke wo n her the n omination for the Ja pan ese Academy 2006 Love And Hono r – Bushi No Ichibu n, Director: Yôji Yamada Awar d. Tod ay Momoi’s film career compr ehend s Ichij iku No Kao, Director: Kaori Momoi more than sixty films in over thirty years. She has appeared in the films Memoi rs Of A Geish a, Directo r: Rob Mar shall KAORI of numero us cele brated di rec tor s such as Akira Kurosawa, Yôji Yamada, 2005 The Sun , Directo r: Alek san dr Sok urov Shôhei Imamura, Kôki Mi tani, Takashi Miike , Rob Mar sha ll, etc. In 2006 1998 Welcom e B ack Mr. Mcdona ld, Director: Kôki Mi tani she w rote , di rec ted and starred in Ichij iku No Kao ( Face s Of A Fig Tree). 1996 Sha llowtail Butterfly, Directo r: Shunji Iwai 1984 Why Not?, Director: Shôhei Imamura Kaori Momoi has received many awa rds in Japan fo r her act in g 1980 Ka ge mush a – The Shadow Warr ior, Directo r: Akira Kurosawa perfo rmances. In 1978 and 1980 s he was h onoured w ith the Japanese 1979 No More Ea sy Lif e, Directo r: Yôichi Higashi Academy Awar d: as best sup port ing a cto r in The Yellow Handk erchief by 1977 The Yellow Handkerchief, Director: Yôji Yamada

DORIS DÖRRIE (DIRECTOR, WRITER) me H to c D T ins f and as c c C not t G G as f r in t N D w H a i i he he ev ar o b o msuccesslm lms h h u u hi e ö o a er m u ou a e e a e w s nnel r n r since i in 1 d T W U c r n es inleast Herz t f e r riner r is p f ta a r made r h 9 oc an a i t i h t ws and le ni Y e y e v mpremieredlm r t 75 i e l Z ’ in e o s t D th y i t E ume tee P B v or l ty achm i en rk a p r n fi fo ers e ö l cl a she nce leu even os (Straight aen t t e e s her g r d, whi rr ud er he ce had st FUKU r documentary b h popularthe t s n E i e ie c a thewas o 2000) e t t rt t lsner e a h W fo y ms, e he for a s t has lst d b c tu a o sometimes teps r n o was r ö her a e in y t f J n t st v h e l gi S a udies, H r T f a g to S e inler c udy-vis m p üdd e e w be she nni r el in o o T H a a E a i ttheat in i dr a w o relationship-drama g n t h d n ev t en d J u I nner aran h us rough t c y a MA, n w e a T r he a c u p isi U ucs ofsuccess H i u w D o nd g t o be n ar t r a r el he t w el a mm n r Co g f o ö i e n s le been t i ts o d n Venice e en c e pe ie e che rr n m.Her lms. J E n f ad o a visi a ag a o O E r T e einie a M n v t p lm t nd a k t her adi o e l s nd h e a ch i a a t y b nc p n Y e r O central p ed o ne Z in a ( Ca - e e o g s n p E r n b e N t i F wr Heart, e e u se e 2008her t l s imFestival Film ar he nli g Br o it r f b W y n d i i li r to cie i a ole lm r r en u lm kne ro e i fo L n l o A o g e s t tr f l n n if Ja wy i h i p t adca wn. r Ja les, n rst n MO s ud t g to M as a e t p nia D , p c e ema. g v . c p M er in (2007) n h 1983). a unic ö a e ar o them, D i A a m t great o es l n r An st r i f fi n, U l f t o ri a a a e f inr k i he i i e t e l e te l nd nd lm nd n e r ed en R m e s m n a r i r h d ’ g a e s r r s s t t , . G pr advancem t ( M the s fl T fo F s M a o M u en dinnd e o he e r o ax c s o u r r e tiva h r e s g D r w m a international c a i A f r O as vi s hi o i r t a a mas nuuae h ucs fthe of success the inaugurated also lm hes n u i ris l e n p a mme o . c d i a t ’ h s let h n r r r ü a H b l el a D t 1984y g e s sFls o e l g i h a ic n ö s m, end t t was e o s t rr t o i s i dhis u ons f i e me lm a ie c 1988), t l w a ler he c r wo h ess d wo ar y F f a i y i o T a e cp lm y pr d n w s f n f . P okyo t o t ar I o t i ar a fo he o wast v he f d nd adaptation a a m ad ded r ucer einme l M s a e which as i I a udience d e än be n me (s y n t fo w , B er ing ne ume P s l e e t l o ar n 1985 l o i r r asl tl methi dEind shem … w a ad e p t r e , p i of o a o d ise, I r us ta ( r c n ize w M t h b c ki Alberto a n a i y hi o p e un t l 1986), g n n a h n… f r F f ng ag t g i izes. t erd l i t h t t m l a h e he ed he m a ) n r e s t , , fi A B H ( G f N pr se Film d as a f ( E peoplesincreasingly p de a co S i ro N N nd l he u ver) e nta l ar u t s a o v m o t v l ake o b o pro g m a ect s er le d el b e t Be D Si li s, a r s b he u o giardiniera n b an no c a s o M B t o n o e d, J E hi d iv ct ri l f t h b p t ü i ris e n i ce y rleu unich. we r tee in e o o me n ne on i rg n s e s 2002), t o o L p s i o gs ame ng di n m, o n D en o c d), eras e ad o n t sh r v F s 1 c n o eshe ö v t c T e h o c ü 9 V fo a f el r s o a ur h v a tun chö 2 p 8 r rie t C o t v M r e t s s a he f 0 t 7, H g i e t i ime e a u l s fosì a ra (2006) lv m he 0 las a e, r el a nd we t ?(n? ap c g has e pp 1 i t er c h mer o 1995) u ind r a G Dor t U p o el n a nd l e r a a lied as s A y l dshnd (2003) t ar she i r n n nd be a ihher with c n s Im B ti iv as r o B g a for tutt t h u i e en i on he f e f s n r enno er nd ninen and H dr ro 2 r th c t w s B the o 0 sh ie e 20)w (2001) e t l r a sto i B D m ec d h r o i 0 ea e ty e m r k st a erlin i e the a 6 r ö w p t t e y u Salzburg r F k t a a o , u K r h , to e ( ies. i t ti ürm nd M f ing f rie r J g E u D e T rs er i d c f a f mcharacters. lm i T r in o i n r ürk u n a ( ko ies lm ör el S g m F k li her l?, g er M t y a e o a w g b a ho r e has since nn) e! visi t characters w r i t h o 1998) ie a l d s t i e e i z t dsnd h t c e hi y (1992). r Festival. ver A e c h a h, b Op t o s n D i r as c rj t t nem N n t m h sto bee K a N 1997 ‘ m a o s to er ack w a g a niel c e uni e she ina i n nd e L a ell nt n c r r a n n d d h ’ y y a a s t t as Der Fischer und seine Frau ( The Fishermen FILMOGRAP HY 1982 Daz wischen (TV), Script, Director And His Wif e, 2005) with Alex andra Maria Lara 2016 Fukushim a, Mon Amou r, Scrip t, Di recto r 1980 Katha rin a Eisel t, 85, Arbeit er in (TV), Script, Director and Chri stian Ulmen in the l eadi ng ro les. 2014 The Whole Shebang, Scrip t, Di recto r Von R oma ntik kein e Spu r (TV), Script, Director This Lovely Shitty Life (Do kume ntary), 1979 Paula aus Portu gal, Scrip t, Di recto r Di rector, scree nwr iter, pro fes sor, opera Scrip t, Di recto r, Camera 1978 Alt we rden in der Fr emde (TV), Scrip t, Di recto r directo r and still a w rit er. Besides the vo lumes 2012 Bl iss, Scrip t, Di recto r Der er st e Walze r, Scrip t, Di recto r of stories me ntion ed above , Doris Dörr ie has 2010 Midlif e Crisis (TV), Script, Director Hättes t was Ges ch eite s g ele rnt (TV), Scrip t, Di recto r be en wr iting a series of succe ssfu l child ren‘s The Hai rdres ser, Scrip t Max & Sand y (TV), Scrip t, Di recto r bo oks since 1998. In 2003 she wo n the German 2008 Cherry Blos som – Hana mi, Scrip t, Di recto r 1977 En e, Mene, Min k (Kurz film), Script, Director Book Prize fo r Das blaue Kleid (The Blue Dress) . 2007 How To Co ok You r Lif e (Do cume ntary), Scrip t, 1976 Ob’s stü rmt oder s chneit, Scrip t, Di recto r She bro ught her novel Alles in klusi ve (Th e Di rec tor, Camera Who le Sheban g), to the silv er sc reen in 201 4 2005 The Fish ermen And His Wif e, Scrip t, Di recto r SELECTED AWARDS featuri ng Hannel or e Elsne r, Axel Prah l an d 2004 Ei n s el tsame s Paa r (The Odd C ou ple) (TV), 2013 Carl- Zuckm ayer Med al Nadja Uhl in the lead ing ro les. Most rece ntly Scrip t, Di recto r 2012 Order of Mer it, 1st class her do cumen tary Die ses schöne Sche isslebe n 2002 Nake d, Scrip t, Di recto r 2012 Bavarian Film Awar d fo r Bl iss (Best Di recto r) (This Lovel y Shitty Lif e, 20 14), abou t the few 2000 Enli ghtenment Guarantee d, Scrip t, Di recto r 2011 Grimme Awar d in the e ntert ainme nt c atego ry fem ale maria chis of Mexic o, has be en playi ng in 1998 Denk i ch an Deutsch land – Auge nbl ick (TV), fo r Midlife Crisis cinem as. Scrip t, Di recto r 2007 Bavarian Film Awar d fo r Cherry Blos som– Hana mi Am I B eauti ful?, Scrip t, Di recto r 2008 German Film Awar d ( Silver) fo r Doris Dörrie is an e xce ptional di rec to r and 1995 Nobod y L oves Me, Scrip t, Di recto r Cherry Blos som– Hana mi writ er who perp etual ly fa scin ates and su rprises 1993 Was d arf’s de nn Sein? (TV), Script, Director 2005 „Pr o me ritis scientiae et l it ter arum“ fro m the her public. Her sto ries tell of the ups and downs 1992 Happ y Bi rth day, Türk e!, Scrip t, Di recto r Fr ee State of Bavaria of life, of the vaga ries of love and of gro win g 1989 Mon ey, Scrip t, Di recto r 2003 Germa n Book Prize fo r Das blaue Kle id old er and old whi lst alw ays maintaining an Love In Ge rma ny (TV), Script, Director 1998 Bavarian Film Awar d fo r Am I B eauti ful? (Scrip t) authe ntic view of rea lity and expr es sin g 1988 Me And Him, Scrip t, Di recto r 1995 Germ any Film Awar d ( Silv er) fo r Nobo dy L oves Me en ormous sy mpathy. 1987 Wann, we nn nicht j etzt, Scrip t 1992 Germany Film Awar d (n omin ati on) fo r 1986 Parad ise, Scrip t, Di recto r Happ y Bi rth day, Türk e! Doris Dörri e is a me mber of the Germa n 1985 Men…, Scrip t, Di recto r 1986 Germa ny Film Awar d (Silver & Gold fo r script) fo r Men… PEN Centre and l iv es in Muni ch. In The Belly Of The Whale, Scrip t, Di recto r 1984 Max Op hüls Awar d: audience prize fro m the c ity of 1983 Straight Through The Heart (TV), Script, Director Saarbrück en fo r Straight Through The Heart

FUKUSHIMA, MON AMOUR (Grüße aus Fukushima) a film by DO RIS DÖRR IE

CAST CR EW Marie – Ro sal ie Thoma ss Script & Direc tor – Do ris Dö rri e Satomi – Kaori Momoi Produc ers – Harry Kügl er, Molly von Fürs tenberg Nami – Nam i Kamata Asso ciate Produc er – Ru th St adle r

Moshe – Moshe Cohen Line Producer – Patrick Zor er CAST Jusho ku – Honsho Hayasaka Di rec tor of Ph otography – Han no Lentz Yuki – Nanoko Co stu me De sign er – Kath arina Ost Tosh iko – Aya Irizu ki Editor – Fra nk Müller & Music – Ulrike Haage CREW

Dur ation: 104 minu tes · Fo rmat: 1:2. 35, B&W · Sound format: digita l 5.1 Country of origin: Germa ny, 2016 · Original language: En glis h, German, Japane se · Origin al title: Grüße aus Fukush ima

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