Goethe Film Week 6-15 November 2016

©Hanno Lentz, Majestic ©Hanno

GOETHE FILM WEEK 6-15 NOVEMBER 2016

ORGANISED BY THE GOETHE-INSTITUT AMMAN IN COOPERATION WITH DEUTSCHE GESELLSCHAFT FÜR INTERNATIONALE ZUSAMMENARBEIT (GIZ) GOETHE FILM WEEK 6-15 NOVEMBER 2016

SUN, 06 NOV // 7 PM FUKUSHIMA, MON AMOUR Germany 2016 // 108 min // Feature film // Directed by Doris Dörrie Fukushima region of Japan, in the aftermath of the 2011 earthquake. Young Marie from Germany bonds with elderly Geisha Satomi while traveling the Fukushima region of Japan in a bid to escape her sorrows back home. Slowly getting to know each other, the two women eventually learn that they share similar fears and worries.

TUE, 08 NOV // 7 PM WHO AM I Germany 2014 // 102 min // Feature film // Directed by Baran bo Odar Berlin, 2014. Benjamin, an outsider, is invited to join a subversive hacker group. Initially, they do not pursue political objectives, but gradually their actions become more risky and consequently they attract the attention of the German Secret Service and Europol.

THU, 10 NOV // 7 PM WADJDA Saudi Arabia, Germany 2012 // 98 min // Feature film // Directed by Haifaa Al Mansour A suburb of Riyadh, these years. A ten-year old girl dreams of a green bicycle, yet bicycles are not for girls. So how do you raise the money?

SAT, 12 NOV // 7 PM BABAI Germany 2015 // 104 min // Feature film // Directed by Visar Morina Kosovo/Germany, only a few years after the fall of the Berlin Wall (1989). Gezim and his son Nori live under dire conditions, barely making a living. One day, Gezim decides to go to Germany, leaving his son behind. Desperate Nori does not accept being left behind though and embarks on a dangerous journey to find his father.

SUN, 13 NOV // 7 PM ANA HUNNA The films are part of the Ana Hunna initiative promoting economic integration of women in the MENA region implemented in cooperation with EconoWin, the regional programme “Economic Integration of Women in the MENA region”, supported by the Deutsche Gesellschaft für Internationale Zusammenarbeit (GIZ) GmbH and funded by the German Federal Ministry for Economic Cooperation and Development (BMZ). More information at http://ana-hunna.org/the-films/

MON, 14 NOV // 7 PM THE SALT OF THE EARTH (REPRISE) France, Italy 2014 // 110 min // Documentary // Directed by Juliano Ribeiro Salgado, Wim Wenders The gripping portrait of a world-renowned photographer, and why he gave up. Wim Wenders follows Sebastião Salgado. Un Certain Regard Award at the 2014 Cannes Film Festival. Nominated for an Acadamy Award for best documentary feature in 2015.

TUE, 15 NOV // 7 PM VICTORIA Germany 2015 // 138 min // Feature film // Directed by Sebastian Schipper Berlin, these years. On a night out in Berlin, Victoria who has newly moved to the capital meets a group of local guys. Their night begins as a giant wave of adrenaline – and finally turns into a nightmare. Taken in one seamless shot, this movie takes us on a thrilling journey through the streets of Berlin.

All screenings at the Rainbow Theatre, Amman (1st circle area, first right on Rainbow St.). All films with English subtitles or in an English language version. Admission free. Except for the Ana Hunna program: No admittance under 18 years. 3 NOTE TO VISITORS

All films are screened with English subtitles or in an English language version. Except for the Ana Hunna program: No admittance under 18 years. The organisers reserve the right to restrict attendance.

The schedule is also available online at www.goethe.de/amman. Changes in the schedule are unlikely but possible. Please consult the website for updates.

All films have been selected by the Goethe-Institut.

www.goethe.de/amman www.facebook.com/goetheinstitut.amman

44 5 FUKUSHIMA, MON AMOUR ©Majestic Filmverleih, DIF Filmverleih, ©Majestic

Germany 2016 // 108 min // Feature film Directed by Doris Dörrie

Director and screenplay: Dories Dörrie // Director of photography: Hanno Lentz // Editor: Frank Müller // Soundtrack: Ulrike Haage // Principal cast: Rosalie Thomass, Kaori Momoi, Nami Kamata // Producers: Harald Kügler, Molly von Fürstenberg // Production company: Olga-Film GmbH // Production format: 35 mm // Rating (FSK, parental guidance): 12 // Web: http://www. majestic.de/gruesse-aus-fukushima-film/

A universal and poetic tale about life and letting go from acclaimed writer-director Doris Dörrie. For the first time, one of her feature films has been shot entirely in Japan and in breath-taking black and white.

6 7 FUKUSHIMA, MON AMOUR GRÜSSE AUS FUKUSHIMA A film by Doris Dörrie

ABOUT THE FILM With FUKUSHIMA, MON AMOUR the team from the of a Geisha”). They are supported by Aya Irizuki sensational success of “Cherry Blossoms – Hanami” (“Cherry Blossoms”), and also American clown star (2008) is back together: writer and director Doris Moshe Cohen (founding member of Clowns Without Dörrie, producers Harry Kügler and Molly von Borders), and Munich-based musician Nami Kamata Fürstenberg, and German distributor Benjamin (member of the band Coconami) both making their film Herrmann (Majestic). With her new feature film, debuts. […] exceptional director and screenwriter Doris Dörrie has again managed to tell a universal and poetic story In 1985 Doris Dörrie made her first trip to Japan when about life and letting go. For the first time, one of her her film “Straight Through the Heart”, was presented feature films has been entirely shot in Japan and in at the Tokyo International Film Festival. “I was so striking black and white. fascinated by Japan that I hitchhiked throughout the country and took pleasure in getting lost. Again The main roles in FUKUSHIMA, MON AMOUR are and again, total strangers took me by the hand and played by Rosalie Thomass (“Eine ganz heisse showed me the way. I have seldom felt so cared for Nummer”, “Best Chance”) and Kaori Momoi (“Memoirs and coddled in a strange country. And this feeling made a deep impression upon me: being a stranger and being cared for.” […] ©Hanno Lentz, Majestic ©Hanno THE DIRECTOR Doris Dörrie and Rosalie Thomass first met by chance when chatting after a film screening at a festival. Doris Dörrie, born in 1955 in Hanover, won fame They then continued to cross paths. When Dörrie told in 1985 with the sensational success of “Männer…” the young actress that she was intending to shoot a (“Men…”), for which she was awarded numerous film in Fukushima, Thomass was initially impressed prizes. by the bravery that made the director want to film in such a region. When Dörrie offered her the main role Since 1987, she has been publishing novellas of Marie, Thomass’ first impulse was that she felt like and short stories which she increasingly peoples going on this journey with the director. “A sensational with her film characters. Doris Dörrie has been script and a female character who is wonderful as she lecturing since 1997 as professor for applied is allowed to do so much” is how Thomass described dramaturgy and story development at the that first impulse, elaborating by saying that the University of Television and Film Munich. cultural opposition between the two women in the Filmography (selection) film was something she found particularly exciting; 1983 – STRAIGHT THROUGH THE HEART the one having run away from home but then having 1985 – MEN… to recognize that her problems are truly first world 2000 – ENLIGHTENMENT GUARANTEED problems in the truest sense of the word compared 2007 – HOW TO COOK YOUR LIFE to those of the people she encounters in Japan. To 2008 – CHERRY BLOSSOM – HANAMI Thomass, it is a very poetic and universal story about pain. // Press Kit, The Match Factory ©Mathias Bothor, Majestic ©Mathias 2012 – BLISS 2016 – FUKUSHIMA, MON AMOUR

8 9 WHO AM I NO SYSTEM IS SAFE ©Wiedemann & Berg Film Germany 2014 // 102 min // Feature film (comedy) Directed by Baran bo Odar

Director: Baran bo Odar // Screenplay: Jantje Friese, Baran bo Odar // Director of photography: Nikolaus Summerer // Editor: Robert Rzesacz // Soundtrack: Michael Klamm // Principal cast: Tom Schilling, Elyas M’Barek, Hannah Herzsprung // Producers: Max Wiedemann, Quirin Berg // Production company: Wiedemann & Berg Filmproduktion // Production format: 35 mm // Rating (FSK, parental guidance): 12 // Web: http://www.whoami-film.de/ site/

2015 Bayerischer Filmpreis 2015 Deutscher Filmpreis

Benjamin (Tom Schilling) is a nobody, an outsider. This changes when he meets the charismatic Max (Elyas M‘Barek). The two of them couldn’t be more different, but they share one mutual interest: hacking. Together with Max‘s friends, impulsive Stephan (Wotan Wilke Möhring) and paranoid Paul (Antoine Monot, Jr.) they form the subversive hacker group CLAY (CLOWNS LAUGHING @ YOU). CLAY provokes with hilarious hacks and has the finger on the pulse of a whole generation. For the first time in his life Benjamin feels like he belongs and even attractive Marie (Hannah Herzsprung) starts to notice him. What started out as fun soon turns deadly serious, when Benjamin and CLAY are suddenly investigated by German Secret Service and Europol. With Hanne Lindberg (Trine Dyrholm), the leading Europol cybercrime investigator, at their heels, Benjamin starts to realize that he is no longer a nobody, but one of the most wanted hackers of the world.

10 11 WHO AM I NO SYSTEM IS SAFE A film by Baran bo Odar

ABOUT THE FILM The title gives away the film’s two main themes: The the paranoid Paul, they form the subversive hacker search for one’s own identity and the vulnerability of group CLAY, which stands for Clowns Laughing @ You. an electronically interconnected world. Playing with one’s identity is deeply rooted in the hacker scene. The members of CLAY see themselves as a fearless, Hackers wear digital masks and form alliances and prevocational troop. As playful guerrilla fighters. start battles, without knowing who their allies or their Through their actions and social performances, the foes actually are. members of CLAY seem to have struck the nerve of an entire generation. They manage to make a Take Benjamin. He’s invisible. A nobody. Or, according name for themselves through their cyber attacks to the language of binary code: A zero among ones. against a right-wing party congress and against a But this changes abruptly when he suddenly meets the pharmaceutical company. For the first time in his life, charismatic Max. On the outside, they couldn’t be more Benjamin feels as though he’s part of something big, different, but they share a common interest: hacking and even the attractive Marie starts to notice him. In into other people’s computers and closed networks. order to become part of the hacker scene elite, the Along with Max’s friends, the impulsive Stephan and group manages to hack into the server of the German Federal Intelligence Service. This, however, puts them in extreme danger. Through this action, the hackers

©Sony Pictures Releasing GmbH, Jan Rasmus Voss GmbH, Jan ©Sony Pictures Releasing find themselves on Europol’s most wanted list and THE DIRECTOR they also manage to infuriate the Friends; A hacker troop enmeshed in organised crime. Hunted down by Baran bo Odar was born in Olten, Switzerland, the cybercrime investigator Hanne Lindberg, Benjamin on 18 April 1978. He studied at the University is no longer a nobody. He’s one of the most wanted of Television and Film in Munich between 1998 hackers in the world. // Ralph Eue, goethe.de and 2005. He then attended a master class on advertising and promotional spots, also at the University of Television and Film in Munich. Baran bo Odar directed a number of commercials for companies such as Panasonic, Sony, the Sparkasse Bank and Mini-Cooper. “The Silence” was his debut feature film in 2010.

Filmography 2005 - QUIETSCH (SHORT FILM) 2006 - UNTER DER SONNE 2010 - DAS LETZTE SCHWEIGEN 2014 - WHO AM I – NO SYSTEM IS SAFE ©trinity agency hamburg ©trinity

12 13 ©Koch Media, DIF WADJDA DAS MÄDCHEN WADJDA

Saudi Arabia, Germany 2012 // 98 min // Feature film Directed by Haifaa Al Mansour

Director and screenplay: Haifaa Al Mansour // Director of photography: Lutz Reitemeier // Editor: Andreas Wodraschke // Soundtrack: Max Richter // Principal cast: Reem Abdullah, Waad Mohammed, Abullrahman Algohani // Producers: Gerhard Meixner, Roman Paul // Production company: Razor Film Produktion GmbH // Production format: 35 mm // Rating (FSK, parental guidance): universal // Web: http:// razor-film.de/projekte/wadjda/

A ten-year old girl in conservative Riyadh dreams of a green bicycle, yet bicycles are not for girls. So how do you raise the money?

THE DIRECTOR Haifaa Al Mansour was born in 1974 and is the first female filmmaker in Saudi Arabia. She finished her BA in Literature at the American University in Cairo and completed a Master‘s degree in Film Studies at the University of Sydney. She began her film career with three shorts, followed by her award-winning documentary “Women Without Shadows”. Whether through her short films or through her work in television and print media, Haifaa is famous for penetrating the wall of silence surrounding the sequestered lives of Saudi women and providing a platform for their unheard voices. Her films include: “Who?” (short, 2003), “Bereavement of the Fledgling” (short, 2003), “The Only Way Out” (short, 2004), “Women Without Shadows” ©Razor Film Produktion GmbH, Tobias Kownatzki ©Razor Film (documentary, 2005), and “Wadjda” (2012). Al Mansour received the 6. Immanuel-Kant- Weltbürger-Preis in October 2016.– Source: German Films

14 15 our collective perceptions of them is a very difficult continually tried to look at it from the outside, and WADJDA process“. the universal themes it spoke to“, she said. „I didn‘t DAS MÄDCHEN WADJDA want to give foreign audiences the false impression In making “Wadjda”, Al-Mansour didn‘t only have to that it would be an easy or acceptable thing for a girl A film by Haifaa Al Mansour deal with restrictions over subject matter, but the to ride a bike around Riyadh, so it was hard not to put entire filmmaking process was dictated by prohibitive a bleaker end on her journey. But the positive aspects social customs. „Most of the cultural taboos that I of the film help audiences relate to the story, and faced were in the production of the film itself,“ the ultimately enjoy the film“. ABOUT THE FILM director said. „Gender segregation, filmmaking and promoting the arts were big issues in getting the film Al-Mansour‘s determination to make “Wadjda” “Wadjda is a 10-year-old girl living in a suburb of recitation competition at her school. When the girl – made“. resonate with both Saudi and international audiences Riyadh, the capital of Saudi Arabia. Although she spoiler alert! – whizzes through Riyadh on her bicycle was rewarded with success. The film was chosen as „People aren‘t used to having cameras around, so we lives in a conservative world, Wadjda is fun loving, in the end, this is a sign of change. But it is no cheap Saudi Arabia‘s first-ever submission to the Academy were especially cautious“, she added. „I occasionally entrepreneurial and always pushing the boundaries happy ending, rather sceptical wishful thinking: Is Awards, and was nominated for awards from industry directed from a protected spot, like a van, so people of what she can get away with. After a fight with her Saudi Arabian society really as dynamic as this image bodies, critics groups and festivals across the globe. wouldn‘t see me, a woman, interacting publicly with friend Abdullah, a neighbourhood boy she shouldn’t suggests? Haifaa Al Mansour believes it is, as she has „For me, there is nothing more rewarding than to the all-male crew“. Despite the fact that Al-Mansour be playing with, Wadjda sees a beautiful green bicycle said in an interview; and the debut movie of the Saudi see people all around the world finding points of was challenging the country‘s deepest traditions, for sale. She wants the bicycle desperately so that Arabian screenwriter and director provides wonderful commonality in the story“, she said. „I have also been she was determined to make a film that would be she can beat Abdullah in a race. But Wadjda’s mother evidence of what is possible in this ultra-conservative happy to see Saudis turn up at screenings all around embraced by Saudi audiences. „I didn‘t set out to won’t allow it, fearing repercussions from a society Islamic society. Saudi Arabia is a country without the word. One Saudi student told me: ‚Now I know make films to offend people“, she said. „Having that sees bicycles as dangerous to a girl‘s virtue. So movie theatres. And yet the filmmaker, who studied how Americans feel when they watch an American grown up in Saudi Arabia, there was always an Wadjda decides to try and raise the money herself. literature in Cairo and directing and film studies in film.‘ That really made me proud and emotional. I understanding of where the red lines are within the At first, Wadjda’s mother is too preoccupied with Sydney, was officially permitted to shoot her debut have also had a lot of positive feedback from young culture. I wanted the average Saudi person – someone convincing her husband not to take a second wife to at original locations and with Saudi Arabian actors. Saudi women; it means so much to me when they say who has not travelled outside the region, someone realize what’s going on. And soon enough Wadjda’s ‘Wadjda’ is thus the first Saudi Arabian feature film how much they loved and related to the film.“ with traditional values – to see my film, and I knew plans are thwarted when she is caught running ever. In a country where women are forbidden to that certain things would lose them automatically. Not For now, Al-Mansour is preparing to shoot US drama various schemes at school. Just as she is losing hope participate in much of public life, where there is strict just sex, violence, profanity, but the way you package “A Storm in the Stars”, and described working in the of raising enough money, she hears of a cash prize gender segregation, and where women are not even your ideas. If you try to be confrontational, or scream USA as „a very different environment“. One thing, for a Koran recitation competition at her school. She allowed to drive, this is a small sensation. The film at them about how stupid you think they are, you however, has struck her as familiar. „I think there are devotes herself to the memorization and recitation of does not need this kind of promotion, however. The aren‘t going to get through to them. You have to be always issues of women taking on leadership roles Koranic verses, and her teachers begin to see Wadjda story ‘Wadjda’ tells holds up on its own merits, with a respectful of the world they come from and present and managing people, which can be a bit difficult even as a model pious girl. The competition isn’t going to be wonderful young lead actress and clear, unobtrusively your ideas through that prism“. in the West, but I have been fortunate to be part of easy, especially for a troublemaker like Wadjda, but poetic images. … Haifaa Al Mansour has said that she supportive team on this project. I am very happy to she refuses to give in. She is determined to continue loves the films by the Dardenne brothers, and she In making “Wadjda”, Al-Mansour was aware that it be out of the van!“ // Nikki Baughan, The Reel World fighting for her dreams …”// Source: German Films has mentioned the Iranian filmmaker Jafar Panahi would also need to connect with a less conservative (7 January 2016) as a role model. Her debut film, in fact, recalls the international audience. „As the script developed, I “The artificial distinction between national and Belgian brothers’ realism as well as the Iranian films international, domestic and external has now had that have been made since the late 1980s and 90s: its day. The two have to be treated together so that ostensibly simple children’s movies that nevertheless we can help to shape a world that develops in a reveal a lot about the society in which they are set. cooperative and peaceful direction. Yet this type of In these movies, children are allowed to be braver cooperation requires us to take a stance ourselves, and cheekier than adults. By making children their which we are prepared to explain to others and also protagonists, Iranian directors outwitted the censors. defend. True common ground can only be created .... Although Haifaa Al Mansour found her actors in on the basis of open dialogue. That is why we place Saudi Arabia, the film was produced by the Germans such importance on the transnational co production Gerhard Meixner and Roman Paul, who previously of knowledge and culture. One example of this is had produced Hany Abu-Assad’s ‘Paradise Now’ and the Saudi film “Wadjda” produced by Roman Paul. Ari Folman’s ‘Waltz with Bashir’. The technical team as The way in which Wadjda creates her own personal well as the larger part of the funding too came from freedom is an impressive example of how culture can Germany, which raises a question about the film’s build a common heritage of stories.” // Frank-Walter intended market. In Saudi Arabia, ‘Wadjda’ may be Steinmeier, Minister of Foreign Affairs, Germany limited to DVD and television …” // Martina Knoben in (Der Tagesspiegel, 10 April 2016) Süddeutsche Zeitung, 5 September 2013

“Green is the colour of the prophet, the colour of hope Haifaa Al-Mansour became Saudi Arabia‘s first female and of life. And green is the colour of the bicycle feature-film director with “Wadjda”, her 2012 film that the girl Wadjda (Waad Mohammed) sees floating about a young girl who covets a bicycle and goes to by, as it were, on the bed of a passing truck. It is an great lengths to obtain it. „I want to tell stories and image of pure movement, and the film’s dynamism make entertaining films, which in itself is a challenge results from that. Once the bicycle has pierced the to cultural taboos in Saudi Arabia“, she said. „But I girl’s heart like an arrow, the desire for it drives am not an activist, I‘m a filmmaker, and I prefer to the plot. Wadjda desperately wants to earn money engage in dialogue with people who disagree with me. ©Razor Film Produktion ©Razor Film to buy the bicycle and even registers for the Koran Taboos become ingrained in a culture, and changing 16 17 ©MissingFilms BABAI

Germany 2015 // 104 min // Feature film Directed by Visar Morina

Director and screenplay: Visar Morina // Director of photography: Matteo Cocco // Editor: Stefan Stabenow // Soundtrack: Benedikt Schiefer // Principal cast: Val Maloku, Astrit Kabashi, Adriana Matoshi // Producer: Nicole Gerhards // Production company: NiKo Film, Produksioni Krusha, Skopje Film Studio, Eaux Vives // Production format: DCP // Rating (FSK, parental guidance): 12 // Web: http://www.nikofilm.de/ filme/fertiggestellt/babai/

Kosovo in the 1990s, before the Serbian attack and the war that followed: Ten-year-old Nori and his father Gezim make a living by illegally selling smuggled cigarettes. Gezim is determined to go to Germany, even if this means leaving his son behind with relatives. For a long time, Nori tries to stay with his father, but it’s all in vain. In the end, the boy embarks on a long and dangerous journey to find Gezim in Germany. They’d both imagined the reunion rather differently. A real chance at a better future is not in sight.

18 19 BABAI A film by Visar Morina

ABOUT THE FILM Gezim’s first attempt to flee Kosovo already fails at the Montenegrin border. His son Nori is partly to blame, as he was hiding in the boot of the car without his money. He goes after her with a club – the woman his father’s knowledge. Gezim, angry and a little is willing to share the money with him. They arrive at heartless, returns with the ten-year-old boy back to the Montenegrin coast with the help of traffickers and their homeland, which they had already lost a long survive the perilous overnight crossing. Valentina’s time ago. Gezim’s wife left the family and the father husband Bedri is already waiting for her in Italy. He’s and son are forced to live in cramped quarters with angry, because his wife has brought the boy along relatives. Adem is the patriarch of the family, and with her. But he knows Gezim’s address. when a gun goes missing, he beats his son Clirim with Nori reunites with his father somewhere in Germany, a leather belt. in a bleak and grey city which appears largely Gezim and Nori manage to scrape a living by selling deserted. Initially, his father reacts with anger and smuggled cigarettes. The father tries once again to aggression. Gezim’s attempt to take his son with him flee to Germany. For that reason, his son is left behind to the refugee shelter proves fruitless. The boy is with relatives. When Gezim is about to get on a bus, supposed to go to a home so that his identity can be Nori tightly embraces his father, as if that would established. However, this would mean the discovery persuade him stay behind. In the end, the boy walks of Gezim’s status as an illegal immigrant, seeing that in front of the moving bus, injuring himself, and is he’s a Kosovan without a chance of asylum. The father then taken to hospital. Once he’s out of the hospital, wants to go to Holland with his son. Nori is petrified Gezim has ultimately disappeared on his way to by a new, dangerous escape and suspects that this Germany. Nori doesn’t want to stay with his uncle’s won’t bring any real prospects for the future. family. He steals Adem’s gun and while attempting to Visar Morina wrote the screenplay based on his own sell it, he’s not only swindled, but also brutally beaten. experiences. The author and director was born in The boy only sees one way out. He steals from his Pristina and spent his childhood in Kosovo; what he uncle, who had been saving up for years to throw a

©MissingFilms remembers most are the years of fear and police grand wedding feast for Clirim. He wants to go after despotism. He fled to Germany and had a complicated his father, together with Valentina, one of Gezim’s relationship with his father. “The film tells the story acquaintances whose husband managed to flee to of a very personal and highly subjective father-son Germany. He tells her: “I have money!” But soon, he relationship in times of heteronomy. As the context is no longer has any. This time it’s Valentina who steals far too complex for a political discourse, I focused on writing about my own experience.” (Visar Morina). The political dimension can be found within the private THE DIRECTOR sphere, in Adem’s authoritarian family structure and Visar Morina was born in Pristina (Kosovo) in the latent fear, mainly on the streets at night. It’s no 1979. He worked at the Volksbühne in Berlin as a coincidence that a large part of the film consists of director’s assistant and studied at the Academy night shots – it seems to create room for reflexion by of Media Arts in Cologne. His graduate thesis film frequently using tranquil, uncut sequences and long shots without movement. Experiences of deception

©Visar Morina “Death by Suffocation” was shown at the Max Ophüls Festival in Saarbrücken. “Babai” is Morina’s and physical violence are shown over and over again, first feature-length film. which silent Nori increasingly takes to heart. “Babai” also tells of the loss of innocence and the start of Filmography criminal activities out of necessity. The director’s 2005 - VERSUCH EINER STOPFUNG empathy towards his characters is more important 2006 - DER PROFESSOR UND MEIN HUND than any dramatic endeavours for attention. The film 2007 - SICHERHEIT FÜR ALLE received many awards; the director received three 2008 - SIRENEN German Cinema New Talent Awards at the Filmfest 2009 - DEATH BY SUFFOCATION in Munich – for directing, best screenplay and for the 2013 - OF DEATH AND WALLPAPER two main actors. // Hans Günther Pflaum, goethe.de 2015 - BABAI

20 21 ANA HUNNA

Women are self-determined, active and powerful! That is the I am ,أنا هنا“ message of the regional initiative ANA HUNNA here, Je suis là“. Through the power of film, the campaign evokes a public discussion on the realities, challenges, and the immense value of working women in society. ANA HUNNA aims at advancing gender equality in the world of WOMAN AND A HALF work and challenges traditional perceptions of working Tunisia 2013 // 24 min // Fiction women with a main message that women contribute to the economy and their work makes a true difference. Directed by Kamel Laaridhi Using the power of films to move people with their stories, Director and Writer: Kamel Laaridhi // Screenplay: images, and the emotions they convey, they encourage and Chema Ben Chaabene, Kamel Laaridhi, Abir Guesmi trigger discussion which can potentially change people’s // Artistic Consultant: Amine Messadi // Director of perceptions and attitudes; accordingly eight ANA HUNNA Photography: Sofiane Fani // Editing: Fakhreddine films by filmmakers from the region (Egypt, Jordan, Amri // Sound: Walid Ouerghi // Sound mix: Yazid Tunisia and Morocco) were produced specifically for this Chebbi // Executive Producer: Moncel Taleb // Music: initiative, whether documentary or fiction, these films Ridha Diki // Production: Inside Productions, Tunis talk about women and their lives in Egypt, Jordan, Tunisia and Morocco: women who work out of necessity to earn a living for themselves and their families; women who OM AMIRA want to enter the professional world in order to become independent economically and to realize their personal goals Egypt 2013 // 25 min // Documentary in life; and women who, through their personalities and Directed by Naji Ismail leading role in their communities, have become remarkably positive role models. The films offer a panorama of different Director and Writer: Naji Ismail // Artistic Consultant: perspectives, of varied life situations, and of current issues Mohamed Samir // Camera: Shady Ishak // Director and controversies addressing the deeper causes of women’s of Photography: Mohamed Abd El-Raouf Editing: lack of participation in the labor market in the four countries Kamal El-Mallakh // Sound: Ahmed Samir, Mohamed and breaks perceived traditional perceptions that discourage Abd El-Azeem // Production: Rahala Production and women from working. It also aims to show appreciation Distribution, Cairo for working women whose work remains invisible. As part of the ANA HUNNA campaign 2013/2014 the films were shown in over 300 events, screened in 15 films festivals and RAYA LBAYDA reached an audience of more than 7000 people. Morocco 2013 // 21 min // Docu-fiction The films were financed by the Federal Ministry Directed by Layla Triqui for Economic Cooperation and Development (BMZ), Germany, and supported by the Deutsche Gesellschaft für Director: Layla Triqui // Idea and Screenplay: Nadia Internationale Zusammenarbeit (GIZ) GmbH through its Lamhaidi // Director of Photography: Said Slimani regional program “Economic Integration of Women in the // Editing: Hamid Ouyadri // Sound: Najib Chlih, Aziz MENA Region” (EconoWin). Zitouni // Production: Rachid Hamdi, Aya Media Production Audiovisuelle, Casablanca More info: http://ana-hunna.org/ 22 23 OM AMIRA A film by Naji Ismail

©GIZ, Ana Hunna Ana ©GIZ, ABOUT THE FILM The Egyptian short documentary “Om Amira”, Egyptian Revolution took off in 2011. Her daily routine produced in the framework ANA HUNNA initiative begins at night, when she prepares the potatoes for on “Women and Work”, has received the ACT frying, and it ends in the morning, when she has sold award as the Best Women‘s Film at the 17th her sandwiches. She puts up with harassment and, Ismailia International Film Festival within the Short sometimes, violent clashes due to ongoing protests in Documentary section. The film has also been screened Cairo‘s streets. Despite all the mayhem and trouble, at the Berlinale Shorts section of the 2014 - Berlin Om Amira keeps up her smile. Her simple existence International Film Festival and was part of the Short is a comfort to her neighbours, and the protestors Film Corner at Cannes Film Festival. Also the film won roaming the streets consider her the guardian of their Best Documentary at AanKorb: BBC Arabic Film and territory. Documentary Festival held in London in November 2014.

This documentary film takes us through the daily life of Halima Mohamed Ahmed or “Om Amira” (Arabic for “Amira‘s Mother”). Originally from Aswan in Upper Egypt, she now lives in Cairo on a Downtown rooftop with her husband and her two daughters. Her eldest daughter, Amira, is suffering from a weak heart and needs constant care. Her husband Gamal is too sick to work. All responsibility for the family, food and care lies with Om Amira. Well known as the “Potato Lady”, she sells her fried potato sandwiches in a side street, a few metres away from Tahrir Square where the

THE DIRECTOR Naji Ismail grew up in Upper Egypt and now lives and works as a filmmaker in Cairo. In 2005 he graduated in Film Direction from the High Cinema Institute. He joined numerous workshops for writing, producing and documentary filmmaking, and worked on numerous short films (E.G. El Balad / The Village, 2004; Elhekaya We Ma Fiha / To Cut It Short, 2006; Living Room, 2007; Beethoven‘s Echo, 2007; Knocking The Doors, 2009). Naji Ismail Also Wrote The Scripts For Feature Films Such As Moments Of Return From In Front, Karim. His 2011 Work Hekayet El Thawra / Story Of The Revolution Won Several Awards.

24 25 RAYA LBAYDA WOMAN AND A HALF A film by Layla Triqui A film by Kamel Laaridhi

ABOUT THE FILM ABOUT THE FILM To support their families, women in the Moroccan coastal town of Safi toil in a factory for canning Emna is around thirty years old and mother to a young girl. She contacts Hajer, a judge and old friend of sardines where tough working conditions are only slowly improved by modernization. When Ranya, a hers who needs a nanny for her little boy. While the two women are divided by a wide social gap, they young, attractive and educated woman cannot find any other work, she decides to take her mother’s are very close and similar as people: Savoring the lives their work allows them to live; they support each place as a factory worker. But she soon finds herself in a difficult situation when the male supervisor other, together confronting a daily routine that is not always easy. tries to approach her, putting her under pressure. Supported by one female colleague, she dares to face up against the established harassment and oppression. ©GIZ, Ana Hunna Ana ©GIZ, ©GIZ, Ana Hunna Ana ©GIZ,

THE DIRECTOR THE DIRECTOR Layla Triqui is a film director, producer and Kamel Laaridhi was born in La Marsa in 1970 artistic director based in Rabat, Morocco. She and first studied at the Faculty of Sciences in graduated in scenography and film direction Tunis before he joined the "Institut Maghrèbin and has realized a number of screenplays and de Cinéma". From 1997 to 2007 he worked as an productions for TV and cinema. Apart from RAYA assistant director on Tunisian and international LBAYDA her works include various short films, the films. In 2008, he created GHARSALLAH, LA Egyptian-Moroccan long documentary WAVES, the SEMENCE DE DIEU, a documentary about a thriller POURSUITE, and the series MARIA NASSER rural community that is very poor but united (2004) and L’ETRANGER. by the belief in a miraculous new saint. The film was selected at "Cinéma du Réel" and won the audience award at the "Festival du Film Maghrébin de Nabeul."

26 27 ©Le Pacte THE SALT OF THE EARTH (REPRISE)

France, Italy 2014 // 110 min // Documentary Directed by Juliano Ribeiro Salgado, Wim Wenders

Directors: Wim Wenders, Juliano Ribeiro Salgado // Screenplay: Camille Delafon, David Rosier, Wim Wenders, Juliano Ribeiro Salgado // Directors of photography: Hugo Barbier, Juliano Ribeiro Salgado // Editors: Rob Myers, Maxine Goedicke // Soundtrack: Laurent Petitgand // Producer: David Rosier // Production company: Decia Films // Production format: DCP // Rating (FSK, parental guidance): 12 // Web: http://www. dassalzdererde-derfilm.de/

Over the past forty years, photographer Sebastião Salgado has been travelling across the continents. He has witnessed major events of our recent history; conflicts, starvation and exodus. He now embarks on the discovery of pristine territories, of the wild fauna and flora, of grandiose landscapes: a huge photographic project which is a tribute to the planet‘s beauty. Sebastião Salgado‘s life and work are revealed to us by his son, Juliano, who went with him during his last journeys, and by Wim Wenders, a photographer himself.

ABOUT THE FILM Two heavyweight presences – photographer Sebastião Wenders turns his lens away from fashion, music, Salgado and film-maker Wim Wenders – come dance and film to delve into the world of Brazilian together for this profoundly moving meditation on photographer Sebastião Ribeiro Salgado. A highly photography, environment, and human experience intimate portrait co-directed by Salgado’s son, Juliano, […]. In simple terms, this film takes us from Salgado’s The Salt of the Earth penetrates the psyche of one boyhood in Brazil, though his early years as a of the world’s greatest living photojournalists to struggling photography in Paris and his increasingly produce an awe-inspiring statement on the depravity ambitious project-based work, and finally to his of humanity, the moral importance of memory and the retreat from front-line photojournalism to rainforest transformative power of art. conservation back on the family farm on Brazil’s Atlantic coast. // Andrew Pulver, The Guardian Wenders uses Salgado’s breathtaking, indelible images to present a deeply-felt collage of a self-destructive world that may never quench its thirst for blood, an Eden spoilt by idiocy and vanity. Salgado’s early photographs of ordinary workers in Africa and Latin Juliano Ribeiro Salgado was born in 1974 in America eventually give way to his later documentary Paris, where he grew up in a Franco-Brazilian work that captures the horrors of the various environment. He entered the London Film School, calamities and wars he has covered. from which he graduated in 2003. He directed numerous documentaries made in Angola, Ethiopia, In Salgado’s photos, and by default Wenders’ film, Afghanistan and Brazil and directed a number of we are presented with a morbid vision of humanity short films and documentaries for French television. worlds apart from Wenders’ carefree pictures. Injustice, apathy, hatred, corruption, barbarism – when THE DIRECTORS an emotional Salgado finally says “none of us deserve Wim Wenders was born in Düsseldorf in 1945 and to live,” you cannot help but nod in defiance. attended the University of Television and Film in Munich. He is one of the most important figures Salgado’s images ultimately transpire as a memento to emerge from the “New German Cinema” period of how our indifference was partly responsible for in the 1970s and established his own production all the lives that were prematurely lost in armed company, Road Movies, in Berlin in 1975. Wenders conflicts, famines and inhumane work places. Poignant became a member of the Academy of Arts Berlin in illustrations of quotidian bliss serve as a reminder of 1984 and is a founding member and president of the what has been lost, and what will continue to be lost. European Film Academy. Currently he is teaching // Joseph Fahim in WIM WENDERS: A FILM JOURNAL film as a professor at the University of Fine Arts of (Goethe-Institut) Hamburg.

Filmography (selection) 1984 – PARIS, TEXAS 1987 – WINGS OF DESIRE 1998 – BUENA VISTA SOCIAL CLUB ©Donata Wenders ©Le Pacte

Germany 2015 // 138 min // Feature film Directed by Sebastian Schipper

Director: Sebastian Schipper // Screenplay: Sebastian Schipper, Olivia Neergaard-Holm, Eike Frederik Schultz // Director of photography: Sturla Brandth Grøvlen // Editor: Olivia Neergaard-Holm // Soundtrack: Nils Frahm // Principal cast: Laia Costa, Frederick Lau, Franz Rogowski // Producers: Jan Dressler, Sebastian Schipper, Anatol Nitschke, Catherine Baikousis, David Keitsch // Production company: MonkeyBoy GmbH // Production format: DCP // Rating (FSK, parental guidance): 12 // Web: http:// www.wildbunch-germany.de/movie/Victoria

One girl. One city (Berlin). One night. One take. From last year´s Berlinale.

THE DIRECTOR Sebastian Schipper was born on 8 May 1968 in Hanover and studied drama from at the Otto Falckenberg School of the Performing Arts in Munich. He then acted at the Munich Kammerspiele and had many supporting roles

©Missing Link Films Link ©Missing in films, including in “Acting It Out” (1992) by Sönke Wortmann, “Run Lola Run” (1998) and “The Princess and the Warrior” (2000) by Tom Tykwer.

In 1999, Sebastian Schipper directed “Gigantic”, his feature film debut and in 2006, he presented his second major directorial effort with “A Friend of Mine”. His next project was presented at the Berlinale in 2009: “Sometime in August”.

In the following years, Schipper was especially active as an actor.

Filmography 1999 - GIGANTIC 2006 - A FRIEND OF MINE 2009 - SOMETIME IN AUGUST 2015 - VICTORIA

32 33 VICTORIA A film by Sebastian Schipper

ABOUT THE FILM

The young heroine of the German film “Victoria” really locations, drawing the viewer directly into the action. does have a busy night on the town – a mere few Together with the reckless group, one looks out over hours that take in flirtation, peril, dancefloor euphoria, the city from high rooftops, strolls across deserted an impromptu piano recital and, to cap it all, some sidewalks and hides in remote courtyards. Seemingly reckless criminality. What’s more, director Sebastian casual events are intensified into a dramatic tour de Schipper gets it all into a taut 140 minutes – and one force. single continuous shot. But, more than a technical prodigy, “Victoria” is an authentic piece of cinematic “Sebastian Schipper’s “Victoria” is unlike any other magic. Taking us deep into one woman’s experience, film. In one single, long take, he tells an outsider it’s as adrenaline-charged as any mainstream action drama that we have seen many times before. But not cinema, but with a minimum of production frills. // in this way. [...] Without the restless movements of Jonathan Romney, guardian.co.uk Sturla Brandth Grøvlen’s camera, which drives the action forward, or the frantic pressure of a real-time The following story is told in a single, uninterrupted production, which pulls Schipper’s heroes like a steel take, condensed into a frenzied real-time event: lost cord through the sleeping city to their doom, the film in her own world, the young Spaniard Victoria dances would dissolve into a loose sequence of individual through trendy Berlin nightclubs. In front of one club, moments. The film only comes alive for as long as the she meets four guys who introduce themselves as clock is ticking, for as long as the pointer relentlessly Sonne, Boxer, Blinker and Fuss. They quickly start approaches the end and does not stand still. But in chatting. Sonne and Victoria are interested in one the meantime, in this two-and-a-half hour state of another and leave the group the first chance they get. emergency, the film is everything one could hope for But their tender flirtation is abruptly interrupted by from today’s cinema.” (Frankfurter Allgemeine Zeitung) Sonne’s mates. For them, the night is far from over. In ©Monkeyboy order to settle an old debt, originating from the time “A film that comes closer to Berlin’s contemporary when Boxer was in prison, they decide to attempt a night-time world than any before.” (Der Tagesspiegel) heist on a private bank. Because one of them is too “Sebastian Schipper has always been a director who drunk, Victoria is to be their driver. The fun and games does not believe in steady and calculated busywork, suddenly turn serious. and his work also reflects this. Like the heroes in his After successfully robbing the bank, the group returns debut film “Gigantic”, he sometimes makes things as to the club and celebrates in high spirits. But when difficult as possible for himself. He is the man for they leave the club, they are recognised by the police the bold move that scorns every probability, for the and flee into a courtyard. Boxer and Blinker are shot premeditated manic shot that almost always backfires. and die a short time later from their injuries. Victoria Until one day, he fully hits the mark.” (Süddeutsche and Sonne force their way into the nearby flat of an Zeitung) unknown couple, steal their clothes and baby, whom At the Berlinale 2015, “Victoria” received a Silver they deliver as promised to the shop across the Bear for Sturla Brandth Grøvlen’s cinematography, street, and, after disguising themselves, escape into a the Berliner Morgenpost Readers’ Jury Award and the hotel. Once there, Victoria notices that Sonne has also German Art House Cinema Guild Award. been seriously injured in the shootout. She calls an ambulance, but it doesn’t arrive in time. Victoria takes At the award ceremony for the German Film Awards the money and leaves the hotel undetected. 2015 (Lola Awards), “Victoria” was honoured in the following categories: Lola in Gold for the Best Feature Based on his own screenplay, actor and director Film and Lola Awards for the Best Direction, Best Sebastian Schipper outlines the story of a breathless Actress, Best Actor, Best Cinematography and Best night in the streets of the metropolis. The camera Score. // Ralph Eue, goethe.de seamlessly links the passing time and the numerous

34 35 PUBLICATION DETAILS

Project team: Dr. Günther Hasenkamp, Karoline Kubanek, Lena Veldscholten, Nathalie Arnegger, Ahmet Servet Golbol

Special thanks: Nour Moghrabi & Safa’a Daradkeh, Deutsche Gesellschaft für Internationale Zusammenarbeit (GIZ)

Design & typeset: Marta Ghezzi Printing house: Al Salam Printing Press

Credits We thank all copyright holders for granting us permission to reproduce their work. If we have inadvertently failed to acknowledge copyright, please send a message to the Goethe-Institut Amman at: [email protected]

This brochure is published by the Goethe-Institut Amman 5, Abdel Mun’nim Al Rifa’i St., Jabal Amman P.O. Box 1676, 11118 Amman, Jordan

[email protected] www.goethe.de/amman

October 2016

36 37 Goethe-Institut Amman www.goethe.de/amman