S.01_CoverGFQ4_2015_Proof_Layout 1 07.10.15 08:28 Seite 1 GFQ 5 1 0 2 - 4 Y L R E T R A U HOME-GROWN HIT: FACK JU GOEHTE 2 Q S OVER 6 MILLION ADMISSIONS IN 4 WEEKS! M L I F GET REAL: DOCUMENTARY N A FILMMAKERS FROM GERMANY M DIRECTORS Susan Gluth & Valentin Thurn R E PRODUCERS Bildersturm Filmproduktion , Hanfgarn & Ufer Filmproduktion G S.02_U2_GFQ_4_2015_Layout 1 07.10.15 08:23 Seite 1 CONTENTS GFQ 4-2015 17 19 20 23 24 25 26 27 29 29 30 30 S.03_CONTENTS_GFQ4_2015_Neu.qxp_Layout 1 01.10.15 09:12 Seite 1 GFQ 4-2015 CONTENTS IN THIS ISSUE GET REAL: DOCUMENTARY FILMMAKERS NEW DOCUMENTARIES FROM GERMANY THE GOOD LIFE THE RANDOM PRINCIPLE Jens Schanze ............................................................................ 29 A portrait of director Susan Gluth .................................................... 4 KRIEG UND SPIELE FROM FILM TO COMMUNITY WAR AND GAMES Karin Jurschick .................................................. 29 A portrait of director Valentin Thurn .............................................. 6 SOCIO-POLITICAL SIGNIFICANCE A portrait of Bildersturm Filmproduktion ....................................... 8 NEW SHORTS PASSION FOR A STORY ERLEDIGUNG EINER SACHE A portrait of Hanfgarn & Ufer Filmproduktion .............................. 10 THE LAST WILL Dustin Loose ........................................................ 30 SADAKAT NEWS & NOTES ................................................................................ 12 FIDELITY Ilker Çatak ...................................................................... 30 NEW FEATURES UPCOMING FILMS EIN ATEM AUF AUGENHÖHE ONE BREATH Christian Zübert ....................................................... 17 Evi Goldbrunner, Joachim Dollhopf ................................................ 32 COCONUT HERO JONATHAN Piotr J. Lewandowski .................................................. 32 Florian Cossen ................................................................................ 18 DAS KALTE HERZ Johannes Naber ................................................. 32 COLONIA Florian Gallenberger ....................................................................... 19 KUNDSCHAFTER DES FRIEDENS Robert Thalheim ............................................................................. 33 FACK JU GÖHTE 2 FACK JU GOEHTE 2 Bora Dagtekin .................................................. 20 LOMO – THE LANGUAGE OF MANY OTHERS Julia Langhof .................................................................................. 33 HILFE, ICH HAB MEINE LEHRERIN GESCHRUMPFT HELP, I SHRUNK MY TEACHER Sven Unterwaldt .......................... 21 DIE MITTE DER WELT Jakob M. Erwa ............................................ 33 ICH BIN DANN MAL WEG I’M OFF THEN: NELLYS ABENTEUER Dominik Wessely ......................................... 34 LOSING AND FINDING MYSELF ON THE CAMINO DE SANTIAGO Julia von Heinz ................................................................................. 22 ROBBI, TOBBI UND DAS FLIEWATÜÜT Wolfgang Groos ............................................................................... 34 DER KLEINE RABE SOCKE 2 – DAS GROSSE RENNEN RAVEN THE LITTLE RASCAL – THE BIG RACE DER SWIMMINGPOOL AM GOLAN Ute von Münchow-Pohl, Sandor Jesse .......................................... 23 Esther Zimmering, Ruth Olshan ..................................................... 34 MACHO MAN TIMM THALER ODER DAS VERKAUFTE LACHEN Christof Wahl ................................................................................. 24 Andreas Dresen .............................................................................. 35 RITTER TRENK VORSTADTROCKER Martina Plura .................................................. 35 TRENK, THE LITTLE KNIGHT Anthony Power ............................... 25 DIE WILDEN KERLE – DIE LEGENDE LEBT TORO Joachim Masannek ....................................................................... 35 Martin Hawie .................................................................................. 26 VIER KÖNIGE Shareholders & Supporters ............................................................ 37 FOUR KINGS Theresa von Eltz ...................................................... 27 Film Exporters ................................................................................. 38 DAS WETTER IN GESCHLOSSENEN RÄUMEN THE WEATHER INSIDE Isabelle Stever ......................................... 28 Imprint .............................................................................................. 39 3 S.04-05_SUSAN_GLUTH_NEU_Layout 1 07.10.15 11:10 Seite 1 GET REAL: DOCUMENTARY FILMMAKERS FROM GERMANY GFQ 4-2015 ) l r a C o r o D © o t o h p ( h t u l G n a s u S THE RANDOM PRINCIPLE A PORTRAIT OF DIRECTOR SUSAN GLUTH usan Gluth leaves us in no doubt herself. Meanwhile in her mid-twenties, now Towards the end of her studies at the Univer - that every film means an incredible she travels through the villages and towns of sity of Television and Film Munich, Gluth said amount of work; that she is kept Nepal to rescue other girls. in an interview at the beginning of 2001: “It’s Sbusy doing, and planning, and think - utopian to think you can exist as a documen - ing, and despairing, and now and then re - “Getting old is not for sissies,” it says on tary filmmaker. Television is the market, it’s joicing – and that all this is experienced in a Susan Gluth’s website. This is a sentence not possible to live from cinema films. I want permanent roller-coaster ride of the emo - from her film PLAYING HOOKY about Sun City to make documentaries and reportages and, tions. It’s clear there is scarcely any time for in Arizona, a town of retired people. The say - as far as possible, to live on that as an inde - other things in a period when she’s aiming to ing could also be converted into “filmmaking pendent artist, with cinematography as my make progress with a project. is not for sissies”. Gluth is not a guerilla- second fiddle, or perhaps editing.” director à la Werner Herzog, it’s true, but like The director has just returned from Nepal her much-traveled colleague, she is one who What the director said in that way 15 plus and she is suffering from a nasty cold, but she works with incredible consistency and abso - years ago was realistic – and roughly speak - still sits all day in a sound studio in Berlin lute passion – intuitively, rather on the basis ing, things have happened just as she im - with Israeli hang-player Hagay and Argenti - of gut feelings, with spontaneous enthusiasm agined then. But since then, she has also nian guitar-player Dominic, looking to com - and a great openness to all those things that fought her way to independence in impressive plete her new film. It’s all about searching, can’t be planned when you are just starting a style. She founded her own production com - feeling their way to the right sound. Susan new project. “I don’t write well-researched pany to escape dependence. Rather than let Gluth came across the Israeli musician Hagay exposés at the start and then look for spon - anyone else do it half-heartedly, she also quite by chance, but now his music with the sors; I will be traveling somewhere and launches some of her own films in the cine - Swiss sound dish fits into URMILA wonder - simply start to shoot, and often the material mas. She has learned to see herself as an fully. The film is due to be launched in Ger - for a new film evolves from there, quite often independent filmmaker, who – like an artist – man cinemas in early 2016, telling the story by sheer chance. Usually, after this I have got has no fixed income. “So you don’t build your - of the suppression of girls and young women so deeply involved in the topic that I can’t let self a house; you make films instead. In my exemplified by Urmila Chaudhary, who had to go again. It’s only then that the issue of case, there is no regularity but somehow work as a slave until she succeeded in freeing exposé writing and financ ing begins.” something always comes in, sometimes 4 S.04-05_SUSAN_GLUTH_NEU_Layout 1 07.10.15 11:10 Seite 2 GFQ 4-2015 GET REAL: DOCUMENTARY FILMMAKERS FROM GERMANY poster artwork: graphikcafé/Bernd Müller more, sometimes less. Earning money is not counters the three unqualified workers with a priority anymore. Some times that re - great respect and regards them at the same sembles harakiri, I agree.” level, as they do their sweat-breaking work in the heat, with a constantly high noise level. Visitors to Susan Gluth’s website are wel - She not only shows her protagonists at the comed in English. She does not see herself as laundry but also joins them in their private a ‘German’ director – from the very beginning, lives. For 90 minutes, WASSER UND SEIFE she has been international with her films. “My affectionately focuses on these unsung hero - themes just approach me – it might be a per - ines of work and their modest dreams of a sonal encounter or, as for the first time with little happiness. URMILA, a newspaper article. I begin to do re - search and something evolves, often through Susan Gluth always admires people who are international encounters and together with committed, who dare to venture from the colleagues from all nations.” cover of safety. The director investigates the force that inspires such people, asking where For example, there was her first longer film they get the energy for what they do, and how L’AMOUR CHEZ TATI about love stories told in they manage it all. These are essential and a bridal salon in Paris. It was followed by