Titel Kino 2/2001(2 Alternativ)

Transcription

2/2001
”MEDIUM OF
ENTERTAINMENT &
CULTURAL MESSENGER“
A message from the new
Federal Government
Commissioner for Cultural
Affairs and the Media,
Prof. Dr. Julian Nida-Rümelin
GERMAN FILM PRIZE
... and the nominees are …
GERMAN BOX OFFICE HIT
”THE EXPERIMENT“
by Oliver Hirschbiegel
Moritz Bleibtreu, Christian Berkel in ”THE EXPERIMENT“ (photo © SENATOR FILM)
Kino
EXPORT-UNION
OF GERMAN CINEMA
GERMAN
CINEMA
GERMAN FILMS
at the official program of the
Directors’ Fortnight
Ecce Homo
by Mirjam Kubescha
World Sales please contact: Confine Film, Munich
phone/fax +49-89-13 03 87 66
Directors’ Fortnight:
”Le Cinéma dans tous ses états“
The Films of the Fishes
by Helma Sanders-Brahms
World Sales please contact: Helma Sanders GmbH, Berlin
phone/fax +49-30-2 15 83 44
Cannes Junior
Eine Hand voll Gras
A Handful of Grass
by Roland Suso Richter
World Sales: Bavaria Film International, Geiselgasteig
phone +49-89-64 99 26 86 · fax +49-89-64 99 37 20
Critics’ Week:
Short Film Competition
Staplerfahrer Klaus –
Der erste Arbeitstag
Forklift Driver Klaus – The First Day on the Job
by Jörg Wagner, Stefan Prehn
World Sales: ShortFilmAgency Hamburg
phone +49-40-3 91 06 30 · fax +49-40-39 10 63 20
Critics’ Week:
F I P R E S C I D i s c o v e r y o f t h e Ye a r
Die Innere Sicherheit
The State I Am In
by Christian Petzold
World Sales: First Hand Films, CH-Bülach
phone +41-1-8 62 21 06 · fax +41-1-8 62 21 46
CANNES
FILM FESTIVAL
Critics’ Week:
Short Film Night
Forever Flirt:
Nijinsky at the Laundromat
The Autograph
Triumph of the Kiss
by Percy Adlon
World Sales please contact: Leora Films, Santa Monica
phone +1-3 10-8 28 47 66 · fax +1-3 10-8 28 87 66
Forum: ACDO
Havanna, mi amor
by Uli Gaulke
World Sales: EuroArts Entertainment Filmproduktion, Berlin
phone +49-30-88 70 81 72 · fax +49-30-88 70 81 70
GERMAN-INTERNATIONAL
CO-PRODUCTIONS
at the OFFICIAL PROGRAM
In Competition
Il Mestiere Delle Armi
by Ermanno Olmi
(Italy-France-Germany)
German co-producer: TaurusProduktion, Ismaning
phone +49-89-9 95 60 · fax +49-89-99 56 27 59
Un Certain Regard
Hijack Stories by Oliver Schmitz
(Germany-United Kingdom)
German producer: Schlemmer Film, Cologne
phone +49-2 21-9 12 75 10 · fax +49-2 21-9 12 75 12
Lovely Rita by Jessica Hausner
(Austria-Germany)
German co-producer: Essential Filmproduktion, Berlin
phone +49-30-32 77 78 79 · fax +49-30-3 23 20 91
K I N O
6
2 / 2 0 01
”Medium of Entertainment and
Cultural Messenger“
A message from the new Federal Government
Commissioner for Cultural Affairs and the Media
8
Film Archives and Film Museums in
the Federal Republic
17
36 Untitled MTM Project
Urs Egger
37 Wildenranna – Ein Heimatfilm
Alice Agneskirchner
38
Unswerving Commitment
The 100 Most
Significant German Films
Director’s Portrait Angela Schanelec
38 Highlights of German Film History
18 Progression and Persistence
The 100 Most Significant German Films
39 M – Eine Stadt sucht einen Mörder
Director’s Portrait Michael Verhoeven
M – A TOW N I S LO O K I N G F O R
21 United They Sell
A M U RDE RE R
World Sales Portrait: german united distributors
22
T H E CA B I N E T O F D R . CA L I GA R I
The Progress Report
World Sales Portrait: Progress Film-Verleih
24
Fritz Lang
40 Das Cabinet des Dr. Caligari
Robert Wiene
41 Berlin. Die Sinfonie der Großstadt
B E RLI N, SYM PHONY OF A C ITY
Time of New Departures
Producer’s Portrait: UFA Film & TV Produktion
Walther Ruttmann
42 Menschen am Sonntag
26
KINO news
30
In Production
P E O P L E O N S U N DAY
Robert Siodmak
44
30 Elefantenherz
Züli Aladag
30 La Grande Chartreuse
M
NNES
AT C A
I NG S
REEN
C
S
T
ARKE
Philip Gröning
31 Halbe Treppe
Andreas Dresen
NNES
GS
AT C A
ENIN
SC RE
T
E
K
MAR
32 Ninas Geschichte
Hans-Christoph Blumenberg
34 Die Prüfung
Seyhan Derin
34 Semper 2000
Thomas Tielsch
35 Someone Is Sleeping In My Pain
Michael Roes
36 Tamara
Michael Gutmann
Hubertus Siegert
45 Drei Stern Rot
3 S TA R R E D
Olaf Kaiser
Bob Rafelson
Wolfgang Ettlich
33 Planet der Kannibalen
44 Berlin Babylon
46 Erotic Tales: PORN.COM
32 Im Osten geht die Sonne auf
Joseph Orr
New German Films
MA
NNES
GS
AT C A
ENIN
SC RE
T
E
K
R
Erotic Tales: Verkehrsinsel
W H Y D O N ’ T W E D O I T I N T H E ROA D ?
Eoin Moore
47 Das Experiment
TH E EXPE RI M E NT
Oliver Hirschbiegel
E H IT
OFFIC
B OX
N
ION S
S
A
S
M
I
GER
ADM
LION
L
I
M
1. 5
C O N T E N T S
63 Palermo flüstert
PA L E R M O W H I S P E R S
Wolf Gaudlitz
48 E i n g ö t t l i c h e r J o b
A G O D DA M N J O B
M
NNES
AT C A
I NG S
REEN
C
S
T
ARKE
Thorsten Wettcke
65 So weit die Füße tragen
M
NNES
AT C A
I NG S
REEN
C
S
T
ARKE
A S FA R A S M Y F E E T W I L L CA R RY M E
Michael Klier
50 In den Tag hinein
Hardy Martins
66 Tanz mit dem Teufel
T H E DAY S B E T W E E N
Maria Speth
51 It Happened in Havana
Daniel Díaz Torres
B LO O DY W E E K E N D
P H OTO G R A P H Y A N D B EYO N D
Heinz Emigholz
49 Heidi M.
52 Kaliber Deluxe
64 Photographie und jenseits
M
NNES
AT C A
I NG S
REEN
C
S
T
ARKE
NNES
GS
AT C A
ENIN
SC RE
T
E
K
MAR
DA N C E W I T H T H E D EV I L
Peter Keglevic
67 Venus und Mars
VE N U S AN D MARS
Harry Mastrogeorge
68 Wie Feuer und Flamme
Thomas Roth
53 Konzert im Freien
N EV E R M I N D T H E WA L L
A P L AC E I N B E R L I N
Connie Walther
Jürgen Böttcher
54 Lale Andersen –
Die Stimme der Lili Marleen
NNES
AT C A
I NG S
REEN
C
S
T
ARKE
M
69 Zeichnen bis zur Raserei
– Der Maler Ernst Ludwig Kirchner
D R AW T I L YO U D RO P
L A L E A N D E R S E N – T H E VO I C E O F
– T H E PA I N T E R E R N S T LU DW I G K I RC H N E R
LI LI MARLE E N
Michael Trabitzsch
Irene Langemann
55 Legion of the Dead
Olaf Ittenbach
M
NNES
GS
AT C A
ENIN
SC RE
T
E
K
AR
70 Das Zimmer
T H E RO O M
Roland Reber
56 Mädchen Mädchen
G I R L S O N TO P
Dennis Gansel
57 Milch und Honig aus Rotfront
M I L K A N D H O N EY F RO M ROT F RO N T
Hans-Erich Viet
58 Der Mistkerl
T H E B LO O DY N U I SA N C E
NNES
GS
AT C A
EENIN
T SC R
E
MARK
Andrea Katzenberger
59 Mondscheintarif
Ralf Huettner
60 Muratti & Sarotti
M U R AT T I & SA ROT T I – H I S TO RY O F
G E R M A N A N I M AT I O N
Gerd Gockell
61 Nachts im Park
Uwe Janson
62 Nancy und Frank
NA N CY A N D F R A N K :
A M A N H AT TA N LOV E S TO RY
Wolf Gremm
72 Film Exporters
74 Foreign Representatives
74 Imprint
A
m e s s a g e
f ro m
t h e
n e w
Fe d e ra l
G o ve r n m e n t
C o m m i s s i o n e r
Prof. Dr. Nida-Rümelin has been the Federal Government’s Commissioner for Cultural Affairs and the
and Media since 13 January 2001. He assumed office almost at the same time as the Berlinale 2001 was taking
place. He used this occasion not only as a welcome opportunity to gain closer knowledge and personal
experience of important personalities and institutions within both the national and international film business,
but also to clearly state his intention of making film policy the main thrust of his period of office, as well as
those other areas which he considers to be of the most importance.
”MEDIUM OF
ENTERTAINMENT
AND CULTURAL
MESSENGER“
Films have fascinated me ever since I was a child. Whenever I’m
asked where this fascination comes from I often think of a remark
made by Andrei Tarkovsky, where he described film as ”the most
poetic of all the arts.“ I share this opinion. Films create their own
worlds and satisfy our longing for myths. They tell stories and
change our way of looking at things. They combine entertainment
and the aesthetic, dreams and reality, like almost no other form
of art. The reference they make to the world in which we live is
closer than, for example, that of contemporary painting and
sculpture or e-music.
Even when film is most widely considered a medium of entertainment it remains, as before, a cultural object and a cultural
messenger. In the 20th century it has, in many ways, assumed
the role that opera played in the 19th century. The art of film
embodies acting, music, writing, the visual arts, dance, etc. Film
politics, as I understand and wish to conduct it, are first and
foremost the politics of culture and should be intended to help
as many people as possible gain access to the entire body of
this art and promote the public conscious for that cultural
dimension film affords.
As the reflection of the personal and cultural identity of its
makers, film has not only a universal but also a regional component. It is precisely the mixing of both these aspects which creates
the main fascination. It cannot be in our interest if the regional
cultural identity in filmmaking is replaced by a more or less
”globalized“ flavor, oriented just towards entertainment value,
as is to be found especially in many Hollywood productions.
That is why I am concerned with strengthening not just German
but also European films as a whole.
6
The German film industry is currently undergoing deep structural
changes affecting all aspects of its activities, not least of which is
due to the extremely rapid pace of technical development. We
must react to this structural change and try to actively manage it.
Here the state, both the national and regional governments,
plays an indispensable role. I am in no doubt that strengthening
German film will belong to one of my main activities.
The situation in which German film currently finds itself is partly
influenced by mutually opposing factors. On the one hand we
have, not least of which is due to the strength of the German
television industry, a considerable number of outstanding,
artistically significant and financially successful films and the large
potential afforded by highly talented directors, script writers,
actors and technicians who stand all international comparison.
This also applies to the young generation, as evidenced by the
OSCAR awarded to Florian Gallenberger for the Best Short Film.
But on the other hand, the financial success achieved by
German films and their audience acceptance domestically is
not satisfactory and, especially abroad, needs to be improved.
There are a number of reasons which I cannot go into individually
here. But in any event one thing is certain: Increased efforts have
to be undertaken to maximize the potential of the German film
industry. I want to actively support our film industry in these
efforts.
If individual elements of film policy are to strengthen the film
industry that does not mean simply handing out subsidies. Much
more it means the maintenance of legal and financial frameworks
in order to be able to produce film as a cultural item. That is why
I am in agreement, together with my French colleague as well as
f o r
C u l t u ra l
A f f a i r s
a n d
t h e
M e d i a
Prof. Dr. Julian Nida-Rümelin (photo © Dörflinger)
broadcasters airing European films in
prime time. Perhaps the European
Union’s television guidelines should also
contain the corresponding obligation
for public broadcasters to transmit
European films in the original language
with subtitles.
In this context I also consider important
the maintenance and continued
expansion of bilateral and multilateral
relations within the film industry. And not
just with our European neighbors but
world-wide. International co-productions
in particular should be made easier and
access to the relevant markets also
improved. This is why I am annoyed by
the recently introduced financial
regulations which unfortunately hinder
international co-productions rather than
promote them. I am very grateful to the
German Federal Film Board (FFA) for
organizing a symposium, together with
the Erich-Pommer Institute, on the effects
of the new financial regulations shortly
after they came into effect. After the
results have been evaluated I will, if
necessary, put forward proposals to the
Finance Minister for a more balanced
implementation.
Another important matter is the reform
of German copyright law. I am especially
personally concerned with finding a fair
compromise which suitably rewards the
creative contribution and also pays fair
due to the interests of the film industry.
Germany shall, in the future, also
become a more interesting location for
investment in film production.
most European Union culture ministers, to push the case with
the Commission as well as within the European Parliament for
the need for European film to receive future public funding,
both as a national cultural treasure and a medium promoting a
European identity. In so doing, we are working on a European
alternative to mainstream cinema from Hollywood. I am
personally very keen to see the European Commission take
sufficient note of this within the framework of its regulations
governing competition.
A further main plank of my policy is to
improve foreign representation of
German films and, in so doing, their
export opportunities. To bring this about
I am keen to expand, on the one hand,
the role played by the Export-Union and
its financial basis, and on the other, the possibilities of strengthening cooperation between the film and television industries in
making joint sales efforts, particularly at foreign markets.
The Goethe Institute could also play an important role in this
and I would very much like to improve its possibilities for
organizing German film weeks as well as its scope for special
activities to represent film abroad.
Prof. Dr. Julian Nida-Rümelin
To promote European cinema it is not just enough to provide the
film industry in the member countries of the European Union
with sufficient financial foundations. We must, at the same time,
make all efforts to increase mutual audience interest in films
from neighboring countries and, in so doing, give them more
opportunity in our cinemas. Along with this I also see the public
7
Marlene Dietrich Room/Film Museum Berlin (photo © Scherhaufer)
FILM ARCHIVES
Film was the most important medium of the 20th century – we
cannot say as yet whether it will remain so in the 21st. It has left
traces behind: in people’s collective memory, and in the form of
film copies, screenplays, architectural set designs, film posters and
film criticism. And although it has made such a deep impression
on us, film is a fleeting art. The film material itself decomposes,
and materials used in production have been, and still are often
thrown away carelessly. The task of film archives and film
museums is to save the traces of film history, but also to make
them usable and show them to the public. The fact that there are
so many of these in the Federal Republic of Germany is a consequence of the historical development of post-war society in
Germany.
A race against time
The history of film began more than 100 years ago, and yet
decades passed before the first public film archive began work.
Because this happened very late, the majority of films from the
age of silent films must be considered irretrievably lost. In a
Germany which was forcibly made to conform during the NS
regime, the film archives of the Third Reich opened on 4 February
1935 in the presence of Hitler and Goebbels. It was almost
certainly the role of film in the Nazis’ propaganda system which
promoted the establishment of a central German film archive,
8
but it was no coincidence that it happened at this time: people
were beginning to take film seriously as an art form, but also as an
educational medium and as an historical source.
The Second World War produced a caesura here as well. Looking
back over time, the federal German archive situation during the
post-war period appears to have been something of a temporary
system. The collections of the Reich’s film archives – around
12,000 films at the end of the war – were placed at the legal
disposal of the allies. It was a private initiative which led to the
foundation of the first archive of the post-war era: after the war,
the collector Hanns Wilhelm Lavies made efforts to
re-assemble scattered exponents from the archives in Berlin and
the western zones, and in 1947 he founded his “Archive for Film
Science”, which became the “German Institute of Film
Sciences” (DIF) in 1949. It was not until some time later
that the two directly government archives were set up: the
Federal Archives, at that time in Koblenz, in 1954, and the State
Film Archives of the German Democratic Republic (GDR) in East
Berlin during the same year. After the unification of the two
German states, this passed over into the Federal Archives
(Film Archive). The third large archive in the Federal Republic,
the Film Museum Berlin-Deutsche Kinemathek
(SDK) – a foundation established in 1963 – also owes its basic
stock to a private collector, the film director Gerhard
Lamprecht.
FILM ARCHIVES AND FILM MUSEUMS IN THE FEDERAL REPUBLIC
It was only during the sixties that the fate of many films produced
before 1945 was settled. After the allies had handed over the
administration of the ”film property of the Reich“ to the Federal
Republic of Germany in 1953, and the state had in turn sold the
rights to two private firms, there was a threat of sale abroad
after these went bankrupt. In 1966 the Friedrich-WilhelmMurnau Foundation was established, named after the
famous German film director from the age of silent films. It
administrated the rights and also some of the film stocks of the
production companies Ufa, Universum Film, Bavaria and
Tobis, which includes most of the classics of German silent film.
The commercial rights were utilized by Transit Film in Munich,
whilst the DIF in Frankfurt or Wiesbaden took charge of
non-commercial distribution (also abroad).
There is more to film
than just the copy
During the seventies, under the influence of the commercial
picture palaces’ collapse and the first works by young German
directors, a cinema movement emerged which was oriented on
film culture. In 1971, the cultural politician Hilmar Hoffmann
(Frankfurt) founded the Community Cinema (Kommunales Kino), the first cinema to be entirely in municipal
hands. The slogan of these community cinemas, which were then
founded in an increasing number of cities in the Federal Republic,
was ”to show different films in a different way“.
But Hilmar Hoffmann dreamt of more: the cinema was to
become the focal point of a communications center based
around film, also inviting the public to join in discussion and
analysis of films. In 1976, the city of Frankfurt acquired the
AND
FILM MUSEUMS
Filmmuseum Düsseldorf (photo © Inken Kuntze 1993)
private archive belonging to Paul Sauerländer and used this
collection as a basis with which to establish the German Film
Museum, opened in an old villa by the Main River during 1984.
The political, educational ambitions of the community cinemas
resulted in two circumstances which have become significant for
the film cultural scene in the Federal Republic. On the one hand,
some cinemas established their own archives, buying copies from
abroad, because the films were not or no longer available in the
Federal Republic. In addition, there followed an extension of the
concept of film: the collecting of film copies was no longer the
only focal point, but also the preservation and exhibition of
production materials. The German Film Museum in
Frankfurt became the first film center in the Federal Republic:
it collects everything connected with film, it maintains a library
together with the DIF, and it presents exhibits concerning film
history in a permanent exhibition and four to five additional,
changing exhibitions per year.
A large number of exhibition activities began during the eighties.
Even earlier than the German Film Museum, the Film
Museum of the GDR (now Film Museum Potsdam) opened its
doors in Potsdam during 1981. It displayed part of its excellent
technical collection, and in 1983 this was supplemented by an
exhibition on film history before 1945 and on the history of the
DEFA, the eastern German film company. After the Wall fell,
the Film Museum Potsdam, whose personnel structures
had then been altered, faced a new task: in 1994, it erected a
permanent exhibition on the history of Potsdam-Babelsberg as a
production location; studio operation began there in 1912 and
Ufa and DEFA produced on the site. The documentation of this
location, also as an aspect of national cultural history, is still a
focal point of this museum’s activities, but the spectrum is being
extended with other exhibitions, for example on the film
architect Alexandre Trauner (1992), Federico Fellini
(1995) or Romy Schneider (1998).
9
The Film Museum Düsseldorf, opened in 1993, developed
from the nucleus of community film work. Its exhibition documents the collecting activities begun by the city of Düsseldorf
at the end of the seventies. By contrast to Frankfurt, where the
first part of the permanent exhibition offers a clearly subdivided,
didactic tour on the history of perception in film, the makers
in Düsseldorf have brought together the experience and the
history of film in a style resembling a mosaic, distributed throughout various rooms on three floors; here it is possible to find the
fan cult, a look back to shadow theater, and alongside this, a
presentation of the technical collection.
The fourth and most recent film museum in the Federal Republic,
the Film Museum Berlin, established in the Sony Center at
Potsdamer Platz, has had a varied history. During the eighties
there were already plans to present the collection of the SDK in
a museum to be housed in the former Hotel ”Esplanade“ beside
the Potsdamer Platz, which was not built on at all at that time.
However, the fall of the Wall and tugs of war over new
construction work on Potsdamer Platz meant that the planned
museum was put on ice, and its official opening was not possible
until September 2000. Its permanent exhibition follows the thread
sovereignty. It was not until 1978 that the regulations of the
Association of German Film Archives were developed
to take over the tasks of a central film library. The three large
archives are full members of this association, whilst the film
museums of Frankfurt, Munich, Potsdam and Düsseldorf are also
co-opted members.
There is no legal deposit in the Federal Republic – no duty to
deposit current film material as there is in some other European
countries. The Federal Archive in Koblenz concerned itself
primarily with the collection of documentary films. Not until
1974 was the policy of collecting complementary copies of all
films sponsored by the Federation introduced at the largest
German archive, now holding around 150,000 titles. Nonetheless, the Federal Film Archive, which must limit itself to
German productions, is dependent on acquisitions or donations
in order to complete its collection. It also offers producers a
contractually regulated deposit – long-term surrender – of the
negative of a film.
Within this system, the small archives in particular offer a
guarantee that the marginal fields of film are also collected:
independently produced
films, advertising films,
experimental films which
often work using exotic
formats such as Super 8
and often only exist
as unique copies. The
Film Museum Munich
(without exhibitions, but
with a community cinema)
has a large collection
of films by German-author
filmmakers dating from the
sixties until today available
in its archives.
The lending conditions and
prices of archives differ; but
non-commercial users such
as educational institutions or
community cinemas are
usually given reductions.
Initial information may be
found on the websites of
German archives and
museums (cf. address list
p. 14), where there are
usually also lists of people
to contact and their e-mail
addresses. Versions of
Expressionist Studio Exhibit/German Film Museum Frankfurt (photo © German Film Museum)
German films with subtitles
are only available in very
limited numbers in the archives. Subtitled versions in English,
of Berlin film history; beginning with a gallery of shimmering film
French and Spanish, for example, usually in 16 mm format, are
images, it presents the pioneers and the early divas of German
offered by the Goethe Institute Inter Nationes, which is
film, concentrates on the classics of silent film in Germany, and
responsible for the presentation of German culture abroad.
also focuses on the years between 1933 and 1945, which meant
For information about the collection, the people to approach
collaboration for some and exile for others. The exhibition
are those at the individual Goethe Institutes.
”Artificial Worlds“ on the history of special effects completes
the tour.
All the archives are making constant efforts to extend and to
complete their collections. The widest range of collected objects
is surely to be found at the four film museums in Berlin, Düsseldorf, Frankfurt and Potsdam. These do not only collect film
copies, but also technical exhibits, photos, film programs, screenThe archives and museums with their different emphases guaranplays, production documents, posters and press pull-outs.
tee diversity in collection, although German film dominates, of
Amongst the most fascinating collected objects in the museums
course. But this widely scattered archive scene also compensates
are designs for costumes and scenery, for in a certain way, these
for a deficit in post-war film history in the Federal Republic: there
anticipate the images of a film. The largest collection of this kind
is no central film library. Ultimately, plans for this failed because of
is probably owned by the SDK with works including those of
the Republic’s federal structure, which gives each state cultural
Collections
10
Munich, is connected with Metropolis, since he has often
worked on this film. His reconstruction of classic silent films like
Murnau’s Der brennende Acker or Paul Wegener’s
Golem and his lecturing activities have meant that in recent
years those members of the public interested in film have
developed a greater awareness for silent movies.
Important reconstructions by the archives in recent years include
Robert Wiene’s Orlacs Hände, G.W. Pabst’s Die
freudlose Gasse and Tagebuch einer Verlorenen,
Lubitsch’s Anna Boleyn, Paul Wegener’s Der Golem,
wie er in die Welt kam or Lotte Reiniger’s silhouette
film Die Abenteuer des Prinzen Achmed.
The reconstruction of films can only succeed if several archives
work together. This is not only true of the preparation of film
copies, but also of research work. Traces of a film – such as its
screenplay, censorship certificate or musical score, which are all
important for a reconstruction – are often scattered in various
places. Contact to the international association of archives FIAF,
founded in 1938, is also of eminent importance, for an export
version stored abroad has often proven to be more complete
than the one preserved in Germany.
Metropolis Theater (photo © Kinemathek Hamburg)
Erich Kettelhut (Metropolis), Robert Herlth and
Herbert Kirchhoff. The designs by the DEFA set architect
Alfred Hirschmeier are stored at the Film Museum
Potsdam, drawings by Walter Reimann (Das Cabinet
des Dr. Caligari) and Otto Hunte (Die Nibelungen)
in Frankfurt. The archive material is available for viewing in the
museums by previous arrangement, and the museums lend
out originals for exhibitions by acknowledged institutions at
home and abroad; for all other users (for example for book
reproductions), slides or photos may be made in exchange
for a certain fee.
Emigration and Holocaust
The absorption of film into the propaganda apparatus of the
Nazis and the exodus of Jewish film artists after the so-called
”take-over of power“ is the heaviest burden of guilt to be borne
by German film. An investigation into the consequences of
National Socialist film policy is one of the most important
The museums have not limited their acquisition activity to the
Federal Republic. The estates of directors and actors in particular are often kept with their heirs in other countries. In 1993,
the SDK acquired a superlative collection for five million
marks: the estate of the actress Marlene Dietrich, which
had been kept in various storage houses in Europe and the
United States. The “Marlene Dietrich Collection
Berlin” now administrates this unique collection illustrating a
life whose highlights are shown by the Film Museum
Berlin. The Collection first presented parts of the estate in
the exhibition “Kino*Movie*Cinema” in Berlin during 1995,
after this as an individual exhibition in Bonn and Rome, and
from 1997 onwards, a small section went on its travels as a
touring exhibition to the Goethe Institutes. In 1997, the
German Film Museum Frankfurt was able to take
over the estate of Curd Jürgens, which had been housed
in the south of France, where the star lived until his death.
In Frankfurt, a focus on (west) German post-war film has
emerged together with the Artur Brauner Archive –
the film documentation of the Berlin producer.
Editing Room (photo © Film Museum Munich)
Restoration
and reconstruction
During this year’s Berlinale, film historians from all over the world
waited excitedly for one screening: the “premiere” of Fritz
Lang’s silent film classic Metropolis (1927). Several archives
had worked together on the reconstruction of this under the
overall control of the Friedrich-Wilhelm-Murnau
Foundation. Within the German archive scene, the name
Enno Patalas, the former director of the Film Museum
themes for the archives and the museums in Germany – at least
this has been the case during the last two decades. The SDK in
Berlin has collected together the probably largest collection of
materials on German film emigration, in particular to Hollywood.
Its nucleus are the estate and business documents of the film
agent Paul Kohner, who was the first person approached by
many emigrants during the Nazi period.
In 1987, the German Film Museum Frankfurt assembled
the touring exhibition “From Babelsberg to Hollywood: Film
Emigration from Nazi Germany”, which was a great success in
11
Frankfurt, and was established in 1992. This group has taken on
the task of documenting film traces of the genocide perpetrated
on the Jews.
Lively film culture
The film museums and the film archives in Germany are indispensable if we are to maintain 20th century film heritage. That should
be clear to everyone by now. But what is often forgotten is that
they also, particularly at a time of financial cuts, help to maintain a
lively film culture in the Federal
Republic. Film historical retrospectives can only be realized with
their support and the use of their
collected treasures. Since 1977, for
example, the Berlin Film Festival has
made use of assistance given by the
SDK, which arranges and organizes
the festival’s annual retrospectives.
Technical Collection (photo © Film Museum Potsdam
Zurich, Los Angeles and New York. The most comprehensive
collection of films whose production involved German film
emigrants in Hollywood is available in the Film Library
Hamburg. These film copies, around 600 in number and
mostly acquired from collectors in the USA, present the entire
range of work in emigration: they include films by famous
directors such as Lubitsch, Siodmak, Dieterle or Lang and
titles such as Casablanca (many emigrants worked on its
production), but also films completely unknown today (and here)
– the archive has acquired these because, for example, Curt
Bois played a minor role.
The archives also participate in the working group “Cinematography of the Holocaust”, which is supported by the DIF,
CineGraph Hamburg and the Fritz Bauer Institute in
But the activities are not only
historically oriented, by any means.
Every two years, the German
Film Museum arranges the
International Children’s and Young
People’s Film Festival ”Lucas“,
with its “Murnau Short Film
Prize” the Friedrich-WilhelmMurnau Foundation honors
current short format productions,
and in Wiesbaden the festival
”GoEast“, presenting films from
the former socialist countries, was
organized for the first time this
year by the German Film
Institute (DIF).
Publications often appear about
festivals, film series, retrospectives
and exhibitions. Today, this appears
to be a matter of course, but
especially during the seventies and
eighties, the film institutions functioned as a motor for serious
film journalism, which was only just beginning at that time.
Stefan Drößler, Claudia Dillmann, Hans Helmut Prinzler, Heiner Roß
12
Film Storage (photo © Friedrich-Wilhelm-Murnau Stiftung)
Digital future
In 1999, the Association of German Film Archives
(Kinemathekenverbund) presented a data bank on CDROM which brings together basic data concerning 17,858 German
feature films. The 100 Most Significant German Films – a
selection made by means of a questionnaire among film historians
– are documented with selected material and information
concerning the location of the copy; documentary and short films
are now to be registered as a follow-up project (cf. new KINO
series “The 100 Most Significant German Films” p. 38).
Digital technology and modern communication technologies have
been part of the archivists’ work for some time now. They have
made faster access to materials and data bases possible. In 1999,
the German Film Institute – DIF placed its most advanced
archive with regard to information technology within the
Association of German Film Archives - its censorship
project – onto the Internet. Under the Institute’s address, it is
possible to find all the
decisions made by the
Head Office of Film
Censorship in Berlin
from 1920 to 1938.
These certificates are
first-rate documents of
cultural history, for
they not only give us
an insight into the
judgement practice of
censorship authorities,
but also information
concerning the way in
which people imagined
the dangerous effects
of the mass medium
film during the twenties
and thirties. In the EUsponsored project
“Collate”, the DIF
is working together
with other European
archives in order to
research into the
management of large amounts of text in the Internet in
connection with traditional scientific processing methods.
Digital processing of material has almost become a matter of
course in the restoration of films today. The film images are
scanned, processed digitally within the computer and then reexposed onto film. But digital recording formats are also entering
the field of feature film, and in the long or short term, cinemas
will be equipped with digital projection technology. For a long
time, the Federal Archives have had to face the fact that television
producers demand excerpts in digital form. But keeping digital
material in archives means that we have to contend with a
problem: up until now, storage media such as discs, tapes, CDs
and DVDs have only limited durability, not in the least comparable
with the lifetime of traditional film material. As yet, the archives
have found no solution to the storage of digitally moved
images. But they are aware of their tasks for the future.
Rudolf Worschech
Bärbel Dalichow, Karl Griep, Dr. Sabine Lenk
13
D A TA
A N D
A D D R E SS E S
C O N C E R N I N G
T H E
M O S T
I M P O R TA N T
A R C H I V E S
Federal Archives/Film Archive, Berlin and Koblenz
Friedrich-Wilhelm-Murnau Foundation, Wiesbaden
The largest German archive with over 200 employees and two copy
works of its own in Berlin-Wilhelmshagen and Koblenz. It has a collection
of 148,000 titles (21,000 feature and 127,000 documentary films as well as
”Wochenschau“ programs). In the near future, the archive will not only
receive a new data bank facilitating exchange with archives in the USA and
Australia, but also new storage area for its highly inflammable nitro-films,
of which around 77,000 reels are still waiting to be copied. The Federal
Archive-Film Archive also has a large collection of posters (22,650
examples), photographs (over half a million) and publications (c. 30,000).
The archive distinguishes between commercial and non-commercial borrowers in its lending practice; a quarter of the users come from abroad.
As well as films from the basic collection – the former film property of the
Reich –, the foundation also owns copies of the post-war productions by
Bavaria and Universum Film. The film collections are supplemented by
over 250,000 photos, posters and advertising materials.
Director: Peter Franz
Technical Department: Gudrun Weiss
Kreuzberger Ring 56 · D-65205 Wiesbaden
phone +49-6 11-9 77 08-0 · fax +49-6 11-9 77 08-19
www.murnau-stiftung.de · email: info@murnau-stiftung.de
Film Museum in the Municipal Museum Munich
Director: Karl Griep
Fehrbelliner Platz 3 · D-10707 Berlin
phone +49-18 88-77 77-0 · fax +49-18 88-77 70-9 99
www.bundesarchiv.de · email: filmarchiv@barch.bund.de
Besides a comprehensive collection on New German Cinema, the film
archive (approx. 4000 copies and negatives) also has collections of
classical German and Russian silent films and avant-garde films dating from
the twenties. The collection of Stalin films is one of the biggest in western
Europe. The museum, which has restricted itself to the collection of film
copies to date, also collects Munich productions in its archives and has, for
example, all the films by Vlado Kristl, Jean-Marie Straub, Roland Klick and
Maximilian Schell. In the year 1998, the film museum took over the estate
of Orson Welles. The film museum lends out its copies to a limited
extent, for retrospectives and non-commercial use – for example it is possible to borrow the silent film classics ”Der Golem, wie er in die Welt
kam“ and ”Die freudlose Gasse“.
Director: Stefan Drößler
St.-Jakobs-Platz 1 · D-80331 München
phone +49-89-23 32 23 48 · fax +49-89-23 32 39 31
www.stadtmuseum-online.de/filmmu.htm
email: filmmuseum@compuserve.com
German Film Museum Frankfurt
Library of the German Film Institute/German Film Museum (photo © Deutsches
Filminstitut)
German Film Institute – DIF, Frankfurt and Wiesbaden
The focal points of the collection of 10,000 German and foreign feature,
documentary and short films are silent films from Germany, German
productions after the Second World War and outstanding international
works. The DIF, which is supported by both government and private enterprise, and whose documentation section resides in the building of the
German Film Museum, has the largest text and photo archive (1,5 million
exponents) in the Federal Republic.
Director: Claudia Dillmann
Schaumainkai 41 · D-60596 Frankfurt
phone +49-69-9 61 22 00 · fax +49-69-62 00 60
www.filminstitut.de
email: info@deutsches-filminstitut.de
Film Archive: Nikola Klein
Kreuzberger Ring 56 · D-65205 Wiesbaden
phone +49-6 11-9 70 00 10 · fax +49-6 11-9 70 00 15
email: nikola.klein@em.uni-frankfurt.de
Over 5,000 copies are stored in the film archive of the museum, the focus
being on animation film and the classical film avant-garde of the twenties
(Fischinger, Ruttmann, Richter). The film archive also keeps the most
comprehensive national collections concerning the brothers Diehl and the
silhouette filmmaker Lotte Reiniger. The institution presents its technical
collection in an accessible depot, the non-film archive preserves 800,000
photos, 25,000 posters and a comprehensive collection of graphics.
A speciality of this museum is its collection of music related material,
including sound tracks, music scores and sheet music.
Director: Walter Schobert
Archive & Exhibits: Hans-Peter Reichmann
Schaumainkai 41 · D-60596 Frankfurt
phone +49-69-21 23 88 30 · fax +49-69-21 23 78 81
www.deutsches-filmmuseum.de
email: info@deutsches-filmmuseum.de
Film Archive: Michael Schurig
Eschborner Landstr. 42-50 · D-60489 Frankfurt
phone +49-69-78 37 01
email: filmarchiv@deutsches-filmmuseum.de
Film Museum Berlin – Deutsche Kinemathek, Berlin
The Deutsche Kinemathek (SDK), a foundation financed by the city-state
of Berlin and the Federation, has a collection of around 10,000 German
and foreign films which are stored in its various branches. The SDK owns
what is probably the most comprehensive collection of materials related
to film in the form of set designs, costume designs, estates, film programs,
etc. Special collection areas are documentation concerning film exile (Paul
Kohner, Erich Pommer, Fritz Lang), special effects and the estate of the
actress Marlene Dietrich. The remaining collections consist of around
1 million photos and 20,000 posters; the collection of screenplays, with
30,000 exponents, is the largest in Germany.
Director: Hans Helmut Prinzler
Archive: Werner Sudendorf
Distribution: Holger Theuerkauf
Potsdamer Str. 2 · D-10785 Berlin
phone +49-30-3 00 90 30 · fax +49-30-30 09 03 13
www.filmmuseum-berlin.de
email: info@filmmuseum-berlin.de
14
Romy Schneider Exhibit (photo © German Film Museum Frankfurt)
D A TA
A N D
A D D R E SS E S
C O N C E R N I N G
Film Museum Düsseldorf
The archive – 2,600 titles to date – collects film material on the history
of film in Düsseldorf, productions by filmmakers from North RhineWestphalia, productions by the winners of the Helmut-Käutner Prize, and
feature films of the DEFA. During the last year, the film archive was
able to move into a new storage area with air-conditioning. Here space is
also available for other archives from the region (for example company
archives) to store their films. The non-film department has over 200,000
photos and 20,000 posters.
Director: Dr. Sabine Lenk
Schulstraße 4 · D-40213 Düsseldorf
phone +49-2 11–8 99 22 56 · fax +49-2 11-8 99 37 68
www.duesseldorf.de/kultur/filmmuseum
T H E
M O S T
I M P O R TA N T
A R C H I V E S
Director: Heiner Roß
Dammtorstr. 30a · D-20354 Hamburg
phone +49-40-34 23 53 · fax +49-40-35 40 90
email: info@kinemathek-hamburg.de
Film Library in the Ruhr – Film Archive for the Region
Collection of productions from the Ruhr area, especially industrial films.
Director: Paul Hoffmann
Amtsgerichtstr. 32 · D-47119 Duisburg
phone +49-2 03-8 99 03 · fax +49-2 03-8 83 09
CineGraph – Hamburg Center for Film Research
Film Museum Potsdam
Although CineGraph does not collect film copies or other materials, it
collects data. The researchers in Hamburg have put together the most
comprehensive data bank on German cinema.
The archive, which also has an excellent technical collection, collects
mainly evidence of GDR film history and film copies of relevant
productions. Besides the designs by Hirschmeier, the film museum also
keeps estates of other GDR artists, for example Werner Bergmann.
At present a collection of films which no longer have German distribution
is being set up.
Director: Hans-Michael Bock
Gänsemarkt 43 · D-20354 Hamburg
phone +49-40-35 21 94 · fax +49-40-34 58 64
www.cinegraph.de · email: desk@cinegraph.de
Oberhausen International Short Film Festival, Archives
Director: Dr. Bärbel Dalichow
Archive: Elke Schieber
Marstall · D-14467 Potsdam
phone +49-3 31-2 71 81-0 · fax +49-3 31-2 71 81-26
www.filmmuseum-potsdam.de
email: info@filmmuseum-potsdam.de
Film Library Hamburg
Besides its collection concerning film emigration, the archive also receives
copies of the films sponsored by Hamburg Film Promotion; it has a large
collection of Griffith films and the complete oeuvres of the Hamburg
filmmakers Hellmuth Costard, Heinz Emigholz and Franz Winzentzen.
The festival has acquired the prize-winning films since it began, and has
therefore been able to build up an archive of over 1,000 film titles.
The archive combines its films to create programs. Fee for use:
Euro 30,- for films under 30 mins., Euro 55,- for longer films.
Director: Lars Henrik Gass
Grillostr. 34 · D-46045 Oberhausen
phone +49-2 08-8 25 26 52 · fax +49-2 08-8 25 54 13
www.kurzfilmtage.de · email: info@kurzfilmtage.de
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D i re c t o r ’ s Po r t ra i t
Angela Schanelec
Angela Schanelec was born in Aalen, Baden-Württemberg in 1962. From 1982 to 1984, she trained
as an actress at the Academy of Music and Performing Arts in Frankfurt. After this, she was engaged by
several theaters, including: the Schauspielhaus in Cologne, the Thalia Theater in Hamburg, the Schaubühne
in Berlin and the Schauspielhaus in Bochum. In 1990, Angela Schanelec decided to finish her career as an
actress and applied to the Academy of Film and Television in Berlin (dffb). Here she studied Direction until
1995. During her studies, she made the short films Schöne gelbe Farbe. Weit entfernt (1991),
Prag, März 1992 (1992) and Über das Entgegenkommen (1993). Angela Schanelec’s first
feature film The Summer I Stayed in Berlin (Ich bin den Sommer über in Berlin geblieben) (1994) already shows the city of Berlin as it is perceived by her characters. This is also true of
her graduation film My Sister’s Good Fortune (Das Glück meiner Schwester, 1995). In 1998,
she made Places in Cities (Plätze in Städten), which was shown in the Cannes section “Un certain
regard” during the same year. Since then, she has completed Passing Summer (Mein langsames
Leben, 2001), an ensemble film about people in their mid-thirties living in Berlin, which was screened at
the Forum of this year’s Berlinale and will be opening in German cinemas in September 2001.
UNSWERVING
COMMITMENT
Form as a framework within which life finds a place –
Angela Schanelec’s films are characterized by a
paradox. On the one hand, with respect to form, her
works are the most self-contained and – in the best
sense of the word – self-willed on the entire German
film scene. However, her intrinsically quiet takes,
together with the hypersensitive sound track, lead to
the development of an immense openness; they capture atmosphere and everyday moments which set
forth reality almost in passing. Critics often see
Angela Schanelec, who admits to taking Maurice
Pialat and Robert Bresson as her models, in close
connection with French cinema. Schanelec herself
reacts soberly to this French comparison: “My films
come about as the result of observation and the way
I feel about reality, that is all”.
Schanelec’s new film Passing Summer (Mein
langsames Leben) follows a handful of people,
aged around thirty, through a summer and an autumn
in Berlin. Basically, “follow” is the wrong word, for
usually the camera remains static and constitutes the
section where life is taking place at a specific time.
The characters sit in a café, in the kitchen or a
restaurant, by a lake and in the park. They talk about
their work and their holidays, about marriage and
whether it is okay to simply earn some money in
your profession rather than try to change the world.
“In this film there is no conflict in the classical, dramatic sense”, says Schanelec, “I was interested in
what these young people do with their lives. It is a
matter of the familiar, of a normality which each
person handles in a different way.”
Normality, in Schanelec’s work, is conversations
which appear to have been filmed from the next
table, scenes in which people’s talk is confused and
they interrupt each other, making tense digs at the
others and sitting in troubled silence. However, the
Angela Schanelec (photo © Schramm Film 2000)
17
Angela Schanelec
natural quality of the dialogue here is not the result of improvisation, but of precision work with the actors, whereby
Schanelec can of course call upon her own experience.
Basically, her first career is already behind her: she trained as an
actress and worked on stage for seven years, at such well-known
theaters as the Hamburg Thalia Theater, the Berlin Schaubühne
and the Schauspielhaus in Bochum. “A time came when the chapter ’acting‘ was over for me, I wanted to make films, I knew that
with great clarity and intuition.”
From 1990 onwards, Schanelec studied Direction at the
German Academy of Film and Television (dffb) in Berlin. Her
graduation film My Sister’s Good Fortune (Das Glück
meiner Schwester) was already something of a monolith on
the film scene. It tells the story of two sisters who love the same
man. The presence of the city of Berlin, which exists on the sound
track as uninterrupted traffic noise, forms a contrast to the almost
physical proximity to the characters.
puberty and everyday life in a wintertime Berlin. “In both films,
I remain very close to the characters. I wanted to portray the
city as you experience it as an inhabitant: as a constant, vague
presence, as a murmur, as a city per se.” Places in Cities
(Plätze in Städten) was the only German contribution to be
shown in the Cannes section “Un certain regard” in 1998.
Together with her colleague from student days, Thomas
Arslan, Angela Schanelec is one of only a handful of young
German directors who continue unswervingly along their own
paths, repeatedly seeking to give form to reality – with films that
really do succeed in accompanying life along part of the way.
Films which quite incidentally recount the fluctuation, radical
changes and existential decisions faced by an entire generation.
Katja Nicodemus spoke to Angela Schanelec
In her next film, Places in Cities (Plätze in Städten),
Schanelec concentrated fully on the perceptions of her nineteen-year-old protagonist: first sexual experiences, the reticence of
Michael Verhoeven
PROGRESSION AND
PERSISTENCE
In many aspects, he is an exception to German cinema: Michael
Verhoeven first studied Medicine and became a doctor, just like
the lyricist Gottfried Benn or the songwriter Georg
Ringsgwandl. In the 60s, when young German filmmakers
demanded innovation of the German cinema, they considered
themselves a fatherless generation. Michael Verhoeven’s
father, Paul Verhoeven (not to be confused with the Dutch
cineast of the same name), had been a recognized actor and
director since the 30s. And his son stood in front of a camera
at an early age, in Kurt Hoffmann’s Das fliegende Klassenzimmer and Julien Duvivier’s Marianne de ma
jeunesse. Was Michael Verhoeven then less ”fatherless“
than his colleagues? ”I too belong to the fatherless generation,“
says Verhoeven, ”the films my father made were not the ones I
would have wanted to make. For my colleagues, I was not only
the son of a director, I was also already married to a woman who
had a contract with Columbia – at a time when ’Hollywood’ was
a negative concept.“
With the Strindberg adaptation Paarungen, which was his
cinematic debut, Michael Verhoeven, who felt a sense
of belonging to the 1968 generation of student revolt and
film d’auteur, seemed to be walking on comparatively sure
18
ground, as his father, alongside Lilli Palmer, took on a leading
role in the film. ”At that time, when most filmmakers were filming
their own stories, no one understood it. But my film had a lot to
do with the present. I was concerned not only with a failed
marriage, but also with a sham existence – that was a current
theme.“
His Vietnam film o.k. also contributed to his status as an exception. Shown in the official competition at Berlin in 1970, this was
the film that lead to a break within the competition. The film
caused quite a controversy among the members of the jury, and
when George Stevens (then jury president) pressured the festival
direction to ban the film from the competition, other directors
pulled their films out of the official running, resulting in a complete
cancellation of the festival.
Michael Verhoeven is one of the few German directors to
have received an OSCAR nomination, for The Nasty Girl –
a film that brought its director and author a series of other
awards, including the Critics’ Award in New York, a Golden Globe
nomination and the BAFTA Academy Award for Best Foreign
Language Film.
Michael Verhoeven
Michael Verhoeven (photo © Sentana Filmproduktion)
Michael Verhoeven was born in 1938 in Berlin, the son of German actor
and director Paul Verhoeven and the actress Doris Kiesow, and is married to the
actress Senta Berger. In the 50s, Verhoeven gathered experience as a cinema
and theater actor. He then studied medicine and completed the state medical
examination to become a qualified doctor. In 1967, one year after completing his
medical studies, he directed his first feature film, Paarungen, an adaption of
Strindberg’s Totentanz. Since then, he as continuously worked in film and television,
and occasionally for the theater, as a screenwriter and director. He received his
first German Film Award in 1971 for o.k. – the film that initiated the controversy in
1970 at the Berlinale. He received further awards for The White Rose (Die
weiße Rose, 1982), The Nasty Girl (Das schreckliche Mädchen,
1989/90) and My Mother’s Courage (Mutters Courage, 1995/96),
including a Silver Bear in Berlin for Best Direction, a New York Critics’ Award, and a
Golden Globe and OSCAR nomination for The Nasty Girl. My Mother ’s
Courage won the Bavarian Film Prize and the Award of the City of Jerusalem for
Best Film. His most recent film Enthüllung einer Ehe (2000) won a FIPA
D’ARGENT in the feature film section and a FIPA D'OR for Best Leading Actor at the
FIPA television festival in Biarritz. Verhoeven is currently working an a new cinema
project, a film adaptation of Laura Waco’s novel Von Zuhause wird nichts erzählt.
Verhoeven is also one of the very few directors
who began his career in the 60s and has been able to
continually work up to today. In the meantime, he has
made 13 films for the cinema and more than 20 for
television. From the very beginning, he has had the
courage to address uncomfortable topics and has proven
a social conscience: ”With my work, it has always been
important to me that political concerns become private
ones, for the two cannot be separated.” As a result,
such films as A Terrific Exit (Ein unheimlich
starker Abgang, 1973) appeared, a passion play
about a broken young woman, or MitGift (1975),
a wicked satire about a murderous society with a
superficial shine, or Killing Cars (1985), ”a green
action thriller that came out too early because, at that
time, no one gave any thought to whether or not other
types of energy were more environmentally friendly.“
Again and again, Michael Verhoeven looks for the
critical analysis of National Socialism and its consequences: The White Rose, The Nasty Girl and My
Mother’s Courage are but a few of his exceptional
works.
Often Verhoeven puts women in the foreground of
his films: ”That probably has to do with my experience
that in life, very often the women carry the burden. I
don’t expect a film to change society, but I do believe
that the sum of activities of individuals can make a difference. A film can only be a building block.“
Hans-Günther Pflaum spoke to Michael Verhoeven
19
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de/
INFORMATION ON GERMAN FILMS.
GERMAN
CINEMA
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Sonnenstrasse 21 · D-80331 Munich · phone +49-89-59 97 8 7 0 · fax +49-89-59 97 87 30 · email: export-union@german-cinema.de
Wo rl d S a l e s Po r t ra i t
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quality and/or quantity. Who you gonna call? Forget Ghostbusters
and try german united distributors instead!
”We were formed in 1997,“ says managing director Silke
Spahr, ”as a joint venture between the two public broadcasters
WDR and NDR and two of the largest production companies,
Studio Hamburg and Bavaria Film. The idea was to pool
their program stocks to meet the demand from those many
broadcasters who want to buy packages.“ Just to give one
example of how much easier that has made life for all concerned:
Hit German crime series Tatort (Scene of Crime) is an ARD
production, where the programs are made by many of the member broadcasters.
Previously, buyers first had to find out who to talk to. Now they
come straight to german united. For its owners and other
members, such as Radio Bremen and Hessischer Rundfunk, german united guarantees extensive representation and
market organization, selling their programming in Asia, Russia,
South America, or wherever on a scale far beyond what they
could have achieved representing themselves.
The company, although ”always open to other independent producers and broadcasters,“ says Spahr, sells predominantly ARD
programming: ”Our four partners produce a very large volume
and our priority is to distribute it. And you only have to look into
their archives to see how much material there is. Who’d have
thought ten years ago that the music show Beat Club would
become an international sales success?“
Being the sales arm for public broadcasters means ”dealing with
subjects which are not always very commercial,“ says Spahr.
Silke Spahr
Not that she means they don’t sell, but rather in terms of subject
material, such as Schande (Shame) which was about child
abuse, or the way the subject is tackled. She cites Die Polizistin
(The Policewoman).
Andreas Dresen’s TV-movie won a German Emmy, the Adolf
Grimme Award, for providing, says Spahr, ”another theme and
view; about her life and personal conflicts. She doesn’t charge in
21
waving her gun! It’s a reflective examination of people and how
they deal with their situations.“
Because german united works closely with buyers, it is able to
evaluate their needs and then discuss with its shareholders and
suppliers how best to place the product. ”That’s our strength,“
says Spahr.
This two way communication is the key to the company’s
continued success, as Spahr is also able to tell her shareholders,
for example, ”This particular customer is looking for action-oriented programming“ and if it’s not in the pipeline or the archives
german united can then acquire it, ”either from producers or
by entering into co-production.“ And Studio Hamburg and
Bavaria Film have themselves been involved in co-productions
for years.
For independent producers, german united evaluates the program, turning it over to whichever genre department is most relevant; Fiction, Children’s, Documentaries, Wildlife or Music.
”We’ve invested once or twice in production,“ says Spahr, ”and
we still do. But it’s basic. Producers should contact us once the
financing is in place. We’ll talk as long as there aren’t any large
financial holes to be filled. Then we’re happy to say what we think
it could fetch and where it could be sold. But we prefer to invest
our money in sales, not production, and rarely make presales.“
Specific production responsibilities are shared between the four
partners: NDR for wildlife and music, WDR for documentaries,
both Studio Hamburg and Bavaria Media for fiction. In
fact, of Germany’s ten most successful fiction productions last
year, five came from Bavaria Film and Studio Hamburg. The
threads all come together under the roof of german united.
”As a brand,“ says Spahr, ”german united sells very well.
German programming enjoys a reputation for very high production values and a way for skillfully conveying difficult material.
That’s something the public broadcasters are especially proud of;
excellent research on contemporary subjects.“
With regard to new media and new ways of selling, while the
Internet is the way of the future, ”the technology is a long way
off. It’s no substitute for everyday distribution activities, visiting a
client and showing them tapes, making personal contact.“
Spahr, who grew up and studied law in Hamburg, started her
distribution career at Studio Hamburg. How she came to
german united was merely a matter of ”being in the right
place at the right time! It was a great experience to watch this
joint vision unfold. It was great fun to watch it work and, thank
God, it has worked!“
SK
Prog ress Film-Verleih
THE PROGRESS
REPORT
Last August, Progress Film-Verleih celebrated its fiftieth
birthday, making it Germany’s oldest and still active film
distributor.
“Progress’ history is a rich one,” says managing director Prof.
Jürgen Haase. “Our original owners were the DEFAFilmverleih and Sovexport and, in 1950, Progress took over all
DEFA film rights for the then German Democratic Republic
(GDR), as well as distributing them internationally.”
In November 1989 the Berlin Wall fell. Progress was taken
over by the Treuhand, the government privatization body, and
faced an uncertain future.
“I represented one of the negotiating companies, Tellux.” says
Haase. “Together with Drefa GmbH and Kinowelt, we
formed the DEFA-Foundation, which cleared the way for
privatization. The foundation has the rights and we have a
long-term contract to exploit them. I became managing director
in 1997.”
Born in 1945, Haase studied at the German Film & Television
Academy (dffb) in Berlin. He is especially proud of his writerdirector-producer credit on the German-Turkish co-production,
Gülibek which won, among others, the first prize at the 1984
22
Berlin Children’s Film Festival. He has also directed and written
TV-movies such as Lieferung nach Hause for ZDF and coauthored the three-part Tanz auf dem Vulkan for ARD.
Very much coming from the creative side, Haase also produced
such films as Das Spinnennetz, Johannes Passion,
Nikolaikirche, Pinky und der Millionenmops,
Feuerreiter and Mario und der Zauberer. And the professor title? He is a visiting lecturer at the ”Konrad Wolf“ Academy
of Film & Television in Babelsberg and Bulgaria’s Film Academy and
School of Art in Sofia.
Fifty-one years on, Progress is involved in the world-wide sales,
theatrical and excerpt distribution of some 10,000 films, comprising 800 DEFA features, 3,000 features from Eastern Europe,
and several thousand animated and documentary films; an
extensive archive with the emphasis on the GDR; “forty-four years
of this country and its social system,” says Haase. Two years ago,
Progress signed a long-term exclusive contract for the worldwide rights to Vietnam’s film archives.
Handling a treasure trove of film history calls
for skilled marketing
“The contemporary factor always plays a role,” says Haase.
“For example, ten years after the fall of the Wall or reunification.
Prog ress Film-Verleih
Established 1950 Managing Director Prof. Jürgen Haase Additional contact Christel Jansen
(Head of Sales), Brigitte Paetsch, Karl-Heinz Mandler (Excerpts) Main fields of activity World-wide
distribution of theatrical and television rights for films of all formats and genres, with emphasis on DEFA
productions Regular attendance of the following film and TV markets Berlinale, MIPCOM
Number of titles on offer 800 DEFA features, 3,000 features from Eastern Europe and several
thousand animated and documentary films Percentage of German titles on offer 95 % Buyers
include ARD and the Third Programs, ZDF, 3sat, KiKa, VOX, ARTE, Planet Multithématique (France),
RAISAT (Italy), Alcine Terran (Japan) Most well-known current titles on offer Jacob the Liar
(Jakob der Lügner), The Kaiser’s Lackey (Der Untertan),The Story of Little Muck
(Die Geschichte vom Kleinen Muck) Best-selling titles currently on sale Pinky and
the Million-pug (Pinky und der Millionenmops), Mask of the Desire (Die Braut),
Fueling the Flames of Love (Feuerreiter), The Pharmacist (Die Apothekerin),
Trains ’n Roses (Zugvögel)
Address Progress Film-Verleih GmbH · Burgstr. 27 · D-10178 Berlin · phone +49-30-24 00 32 25
fax +49-30-24 00 32 22 · www.progress-film.de · c.jansen@progress-film.de
Films like Nikolaikirche are perfectly suited to that. But we also
have some great actors, such as Manfred Krug, Hildegard Knef,
Armin Mueller-Stahl, Kurt Böwe and Winfried Glatzeder and
directors such as Frank Beyer, Heiner Carow, Rainer Simon,
Konrad Wolf and Kurt Maetzig. There are always occasions to
screen their films.“ When Carlos Saura’s Goya was released
last year Progress was able to piggy-back its Goya film by
Konrad Wolf.
Progress also works closely with the Goethe Institute and
other cultural institutions, which promote German language and
culture, to organize retrospectives. One such retrospective in
Vienna involved more than 120 films and lasted three months.
Each year, Progress licenses some 30-40 films within the
German-speaking territories, as well as to the Czech Republic,
Belgium, France, Italy, Spain, Poland, the UK, Slovakia, and further
afield to Japan, Mexico and the Philippines.
“Our emphasis, though, is on Europe,” says Haase. “We’re
represented in the US by Icestorm, the video distributor, but it’s a
very difficult market.” As part of efforts to expand there he cites
the DEFA library formed jointly with Amhurst University:
“It’s a platform for young people to study and come into contact
with German film.”
Children’s films also feature large
“We already have more than 200 from DEFA and every couple of
years we acquire another one or two. The latest is Pinky (2000)
which had its first sales at this year’s Berlinale,” says Haase. “We
distribute or acquire children’s films which have a very humanist
approach and are very constructive, not deconstructive.”
Progress also has a number of recently-produced adult-skewed
features such as Zugvögel, Die Braut, Männerpension,
Feuerreiter, Liebe deine Nächste and Die
Apothekerin.
Prof. Jürgen Haase
“You need to take a long-term view and say this film has long-term
prospects and can be marketed as long as there is a feeling for film
art and culture,” avers Haase. “And we have the decisive advantage that we have the rights for an unlimited period. There’s no
sell-by date.”
“We don’t co-produce or co-finance but if we like the script or
cast,” says Haase, “we’re ready relatively early to offer a minimum guarantee to acquire a film.”
SK
And Progress takes care of its product. The Story of Little
Muck, for example, has been seen by 13 million people over the
last twenty years.
23
P ro d u c e r ’ s Po r t ra i t
UFA Film & TV Produktion
Taken over in 1964 by the Bertelsmann Group when it purchased the UFA name and created the production group
operating under that label, UFA Film & TV Produktion has developed over almost 40 years into a respected
address for the production of popular series and high quality TV movies. UFA productions range from such TV movies
as The Policewoman (Die Polizistin) by Andreas Dresen or The Sandman (Der Sandmann) by
Nico Hofmann through the daily soaps Good Times – Bad Times (Gute Zeiten, Schlechte Zeiten) and
Forbidden Love (Verbotene Liebe) to weeklies like Behind Bars (Hinter Gittern) and such crime series
as Balko and SOKO 5113 (and SOKO Leipzig). Together with its affiliates UFA Fernsehproduktion, UFA
Film Production, Westdeutsche Universum-Film in Cologne, UFA Film Munich, UFA Film- &
Medienproduktion Leipzig, Grundy UFA, UFA International and UFA Entertainment, the company
became part of the holding of Luxembourg’s CLT-UFA in January 1997 and is now part of the RTL Group which
was created following the merger with the Pearson Television Group in 2000.
UFA Film & TV Produktion GmbH Dianastr. 21 · D-14482 Potsdam
phone +49-3 31-7 06 04 02 · fax +49-3 31-7 06 04 09 · www.ufa.de · email: info@ufa.de
TIME OF NEW
DEPARTURES –
Norbert Sauer (photo © Ufa Film & TV Produktion)
Switch on a television in Germany and there is a very likely chance
that the program showing at the moment is one created by UFA
Film & TV Produktion. Indeed, nearly every channel, both
public and private, airs UFA productions, whether they be TV
24
movies, soap operas, series, light entertainment or feature length
movies, making UFA the clear leader in the German TV market,
ahead of such competitors as the Bavaria Group, Studio Hamburg
and ndf Neue Deutsche Filmgesellschaft.
P ro d u c e r ’ s Po r t ra i t
However, being market leader doesn’t mean that UFA plans to
rest on its laurels, since the production house has to contend with
the competing attentions of reality and quiz formats and the fact
that the broadcasters have either drastically reduced their
program production budgets (e.g. RTL and ProSieben) or
have changed their commissioning policies to favor affiliated
production companies.
New possibilities
However, as UFA’s executive in charge of production Norbert
Sauer points out, the fusion last year between CLT-UFA and
Pearson has opened up a number of new possibilities for UFA
Film & TV Produktion.
”UFA now has partner companies in almost every European
country as well as North America and Australia“, Sauer declares,
”and we have a link to the other European markets through the
person of UFA managing director Wolf Bauer who is responsible for the European activities except for the UK“.
While Sauer doesn’t expect UFA as a German company to
suddenly start producing for these other markets, ”one can ask
how can one cooperate with the sister companies to cater for
the markets together, i.e. by developing formats which can travel
world-wide. Areas, in particular, where this would work are quiz
and reality shows and daily series whereas the fictional area is
more nationally structured and is likely to stay that way for the
time being“.
European co-productions
The bulk of UFA’s fictional output may thus remain nationally
based in the future, but another track that can be developed
under the RTL Group umbrella would be the cooperation
with partners in such key European territories as France, Spain,
Italy and the UK to find projects which would be of interest
for all five markets. ”We would aim to avoid the mistakes of the
80’s – which were usually summed up in the term 'Europudding'“,
Sauer explains, ”by developing a strategy from the outset that
would have us going to the national TV channels upstream and
pitching them the story ideas. The KirchGroup companies though
tend to work on the basis of their distribution structure whereas
we want to do this based on the content in direct consultation
with the broadcasters“
”Moreover, we also have the ambition to develop projects with
partners that function on the world market“, he continues.
”Hallmark is a name that comes to mind here as a model, and
in the medium term, in 3-5 years, we would like to get into a
position where we would also be able to organize such globally
exploitable programs“.
German company produced its first project with Warner,
Disaster At The Mall, with Warner Bros. as part of a
long-term framework agreement.
Moreover, preparations are now underway for a two-parter on
the life of 1930s screen diva Zarah Leander to be made for
Swedish Television from a script by German writer Peter
Steinbach (Heimat) who signed an exclusive deal with
UFA in early 2001.
”The project had been developed by Peter Steinbach with the
Swedish TV channel, and then as we have this exclusive deal, he
came to see if we would be interested in being involved“, Sauer
recalls. ”Since 80% of the action is set in Germany and Babelsberg,
the Swedish station had already been thinking of working with a
German production company. Shooting is scheduled to begin
in late autumn but this depends on getting the right actresss to
play Zarah Leander“.
Foray into film
Television may be the mainstay of UFA's activities, but there is
always a hankering by the company to dip its toe in the high-risk
waters of feature film production. Indeed, it is not for nothing that
the company is based in spanking new offices in PotsdamBabelsberg across the road from the legendary Babelsberg Studios
where the old Universum Film-AG (Ufa) established a European
cinematic tradition with such names as Fritz Lang, Billy
Wilder and Marlene Dietrich and such film classics as
The Blue Angel, Münchhausen and Metropolis, among
many others.
At the moment, Sauer has three feature projects in development
which are set to go into production over the next two years:
– an adaptation of former East German writer Christoph
Hein's novel Willenbrock which will be directed by Andreas
Dresen from a screenplay by Laila Stieler, their second
collaboration with UFA after the prize-winning The
Policewoman (Die Polizistin);
– a biopic of the life of German screen legend Romy Schneider,
based on a screenplay by Susanne Schneider (Solo für
Klarinette, Hölderlin);
– and a big-budget adaptation of Donna W. Cross’ bestselling
1996 historical drama Pope Joan about the Catholic Church’s only
female Pope from the 9th century, with Volker Schlöndorff
attached to direct from the end of 2002.
”These are three very different and ambitious projects“, Sauer
declares. ”If they are successful, we will certainly do more in
this area“.
A development unit dedicated to identifying such internationally
marketable projects has already been set up at UFA, but Sauer
is aware that all of these plans can only be achieved in a step-bystep approach: first, having success on the European market, and
then the global market ”although this would mean having to work
with and from America“.
MB
That is not to say that UFA has not already been active in the
international arena: the submarine thriller Hostile Waters was
co-produced with HBO and BBC in 1996, and, a year later, the
25
Kino n e w s
Also home to the Munich International Film Fest,
Telepool and the FilmFernsehFonds Bayern, this
new location will prove to be one of the most important film
addresses in Munich in the future. The Export-Union’s team
can still be reached at the same email addresses via the
website at www.german-cinema.de or at
Sonnenstr. 21, D-80331 Munich
phone +49-89-59 97 87 0, fax +49-89-59 97 87 30
email: export-union@german-cinema.de
Export-Union publishes German
Film Festival Guide
Potsdam-Babelsberg – The Filmboard Berlin-Brandenburg, together with ProSieben, has developed a set of
standard guidelines for editorial reports which can now be
downloaded from the Internet. This standard guide assists
in the professional selection of material in all phases of story
development.
According to a recent survey, only 10% of the producers in
Germany draw up editorial reports for scripts – and 30% even
said that they never use them.
Professor Klaus Keil, director of the Filmboard, says that
the benefits from such reports are still greatly underestimated
in story development. ”Of course the success of a film production is dependent upon many factors“, says Keil, ”but the
quality of the script is still decisive for the ultimate success of
the film“.
During the 54th International Cannes Film Festival,
the Export-Union of German Cinema will officially
present its new publication entitled ”Film Festivals in
Germany 2001/2002 – A Comprehensive Guide“.
The festival guide, which has been specially tailor-made to
meet the needs of foreign filmmakers and representatives
of the media, offers detailed information and commentaries on
approx. 50 of the most interesting German film and
TV events.
The guide is organized by town and also has a comprehensive
index system of festival dates and genres. The detailed festival
profiles include contacts, important dates, participation
guidelines, sections and awards, attendance figures, media
coverage and assessments.
The new Festival Guide can be ordered free of charge from
the Export-Union office in Munich as from 20th April, and it
will also be available at the Export-Union stand during the
Cannes Film Festival. A complete online version of the
publication is planned for the end of May, with the support
of the six major regional film funds (Filmboard BerlinBrandenburg, FilmFernsehFonds Bayern, FilmFörderung
Hamburg, Filmstiftung NRW, MFG Baden-Württemberg,
Mitteldeutsche Medienförderung).
"Film Festivals in Germany 2001/2002 - A
Comprehensive Guide" was produced in collaboration
with the two editors-in-chief of the specialist magazine ”Der
Schnitt“ Nikolaj Nikitin and Oliver Baumgarten.
The Export-Union also published a second revised and
expanded version of its already very successful overview of
the most important international film festivals, ”International Film Festivals – A Comprehensive
Guide“, which can also be obtained free of charge from the
Export-Union’s Munich office.
26
Brigitta Manthey, funding consultant at the Filmboard,
sees great potential in the use of editorial reports for story
development as well as in the decision making process:
”everyone profits from a thorough survey of the story
material, especially when an objective overview has been lost.
Professional evaluations serve to assess the quality of the
story as a product and therefore prevent future disappointments. A standard guide also provides a uniform basis, for
everyone involved, in regards to the advising on the strengths
and weaknesses of a story.“
Scene from ”Das Taschenorgan“ (Next Generation 2001)
The Export-Union des Deutschen Films has moved
from Schwabing to the city center of Munich. The new head
office is centrally located between Karlsplatz/Stachus and
Sendlinger Tor in the Sonnenstrasse 21, 80331 Munich.
www. filmboard.de - Standard
Editorial Report Guidelines on
the Internet
The guide can be downloaded free-of-charge from the
Internet at www.filmboard.de. From September 2001, the
Filmboard will require such a report from all applicants. For
this reason, an editorial workshop was organized in April by
the Erich-Pommer-Institut in Potsdam, in cooperation
with the Filmboard. Further workshops are now in planning.
Scene from ”Marie muss rennen“
(Next Generation 2001)
New Home for the
Export-Union
Next Generation for the fourth
time in Cannes
The Export-Union of German Cinema will again be
presenting a selection of short films by German film students
under the Next Generation banner during the Cannes
Film Festival.
Scene from ”Oberstube“ (Next Generation 2001)
Scene from ”Kleine Fische“ (Next Generation 2001)
Kino n e w s
Two German Films
win at Créteil
Maria Speth was awarded the main prize Jury Grand Prix
of the 23rd Festival International de Films de
Femmes in Créteil (Women’s Film Festival, 23.03. –
01.04.01) for her first feature film the days between (in
den tag hinein). The prize includes a money award of
approx. DM 7,500, the costs for a French subtitling and promotional costs for the theatrical release.
Eleven new films from nine German film and art academies
make up this year’s Next Generation lineup which will be
presented for the first time on the occasion of the Cannes
Film Festival on Sunday, 13th May, in the STAR Cinema.
The independent expert jury (Heinz Badewitz, Hof Film
Days; Astrid Kühl, Short Film Agency, and Nikolaj Nikitin,
”Der Schnitt“) compiled a multi-faceted program which is
marked by a pronounced stylistic will and technical skill:
The jury of the festival, which is regarded internationally as
one of the most important events of its kind, founded its
decision on ”the precise talent for observation of the director
and her actors, the intelligence and sensitivity of the general
message and the both beautiful, as well as daring, visual
composition of this first film“.
Oberstube by Sebastian Winkels and Für Dich
Mein Herz by Johannes von Gwinner (both from HFF
”Konrad Wolf“); Endstation : Paradies by Jan Thüring
and Der Pilot by Oliver Seiter (both from the BadenWürttemberg Film Academy); Quak by Wolfgang
Dinslage (Film Studies Dept., University of Hamburg); Dans
l’atelier du sculpteur by Richard Badé (Academy of
Media Arts, Cologne); Marie muss rennen by Konrad
Sattler (HFF Munich); Wünsch Dir was by Franziska
Stünkel (Hannover Polytechnic); Kleine Fische by
Holger Ernst (College of Art, Kassel); Das Taschenorgan by Carsten Strauch (College for Design,
Offenbach); and <S> by Romeo Grünfelder (College for
Fine Arts, Hamburg).
the days between (in den tag hinein), produced by
November Film, Berlin, in collaboration with ZDF
Kleines Fernsehspiel and HFF ”Konrad Wolf“, was
first shown in January at the Rotterdam Film Festival where it
received one of the three renowned ”Tiger Awards“.
Scene from ”Wünsch Dir was“ (Next Generation 2001)
The Audience Award of the Créteil festival – with a purse of
approx. DM 6,000 - went to Imogen Kimmel’s film
Secret Society. The story set in England about a group of
women who secretly train as sumo wrestlers received its premiere at the Hof Film Days last October.
The program will also feature a special screening of Quiero
Ser by Florian Gallenberger (HFF Munich) who received
both the Honorary Foreign Student Award (”Student OSCAR“)
and – most recently – the Best Short Film OSCAR for his film.
Following the presentation in Cannes, which is also supported
by the six major regional film funds, Next Generation will
be shown, as in previous years, at the Festivals of German
Cinema which the Export-Union organizes in key cities of the
international film industry (2001: Rome, Madrid, Paris, London,
Los Angeles).
27
Kino n e w s
OSCAR Nomination for
‘The Periwig-Maker’
Scene from ”The Periwig-Maker“
Already highly awarded at international festivals, The
Periwig-Maker recieved an OSCAR nomination for Best
Animated Short. Inspired by a Daniel Defoe novel from 1722,
director and Filmakademie Ludwigsburg graduate Steffen
Schäffler and his sister Annette chose an extraordinary
subject: a man seals himself off in medieval, plague-infested
London to escape the danger of infection. When a little girl
seeks his help, his life is turned upside down.
German Federal Film Board
with a New Address in
Berlin-Mitte
After 32 years in Berlin-Charlottenburg, the German
Federal Film Board (Filmförderungsanstalt, FFA)
has moved to a new location in the Große Präsidentenstr. 9,
10178 Berlin. The modern, seven-story building with a view of
the Hackescher Markt shares the same neighborhood in the
government district with numerous production companies,
agencies and publishing houses.
Rolf Bähr, president of the FFA, says the new location
“should become a meeting point for everyone committed to
German film – a pulsating, lively, and progressive film house
for the German film industry.”
Atmospherically dense and overwhelmingly intriguing, The
Periwig-Maker is animation at its best, funded by MFGFilmförderung Baden-Wuerttemberg, FFA and FFF.
The 2nd Festival of German Cinema (5 – 9 April
2001) in Rome was a great success again this year. Over
4,100 cinemagoers saw 14 current German films. There was
also great resonance from film buyers: Italian distributors
showed interest in five of the films shown, including My
Sweet Home and In July (Im Juli).
Eleven directors and two actresses had the opportunity to
meet with a curious Italian audience. The Italian media showed
great interest in these new German films too. Michael
Weber of Bavaria Film International was also very
satisfied with the results: ”the festival was a great success for
us and we see a positive trend for German films in Italy.“
The opening film was My Sweet Home, also shown in
competition at Berlin. The main program of the festival
featured: Crazy, England!, In July (Im Juli), Lost
Killers, Paradiso, The Legends of Rita (Die Stille
nach dem Schuss) and No Place to Go (Die
Unberührbare). The closing film of the event was the silent
classic Nosferatu with live musical accompaniment.
This year’s partners and sponsors included: the office of the
Federal Government Commissioner for Cultural Affairs and
the Media (BKM), the German Federal Film Board (FFA),
the six major regional film funds, Goethe Institute Inter
Nationes, Studio Universal Italy, www.35mm.it, Lufthansa,
Radio Centro Suono, Transit Film and the Friedrich-WilhelmMurnau-Foundation.
28
FFF Bayern: Movies Made in
Bavaria Go on Tour
In addition to its wide-ranging film and location funding
activities in Bavaria, the FilmFernsehFonds Bayern
regularly leaves the borders of the free state and presents the
products of its funding work at international festivals and film
weeks. Already in 1998, under the slogan Movies Made in
Bavaria, the FFF Bayern was present in Moscow, at the
”Bayerische Kulturtage“ in Kiev and the Festival of German
Film in Hong Kong, followed by film weeks in Bratislava,
Ljubljana, Prague and Cracow. In 2001, Eastern Europe is the
main destination again: in July, this year’s first Bavarian film
week takes place in Moscow (22 - 28 July 2001). The film
program includes Joseph Vilsmaier’s Marlene,
Caroline Link’s Pünktchen und Anton and
many others. Activities in Cairo, Budapest and – now for the
fifth time – Cracow are also currently in preparation.
Scene from ”Endstation … Paradies“
(Next Generation 2001)
Second Festival of German
Cinema in Rome
Kino n e w s
DM 35 million in film funding in
one go! German Federal
Film Board (FFA) awarded
this record sum at the end of
March during an informational
event in Berlin to the Industry
Tiger – the year 2000’s most successful German film producers
and distributors. During this
event, the FFA also provided
information about current film
issues.
The FFA-Industry Tigers for the most successful
productions went to:
Claussen + Wöbke/Deutsche Columbia TriStar
for Anatomy · Claussen + Wöbke for Crazy
Constantin Film for Ants in the Pants (Harte
Jungs) · Hofmann & Voges Entertainment for
The Bunnyguards (Erkan & Stefan)
Amendment to the
MDM Grant Guidelines:
Film Marketing now Eligible for Grants
At the beginning of the year, the Mitteldeutsche
Medienförderung (MDM) changed its grant guidelines.
With these changes, the MDM has become the first German
film board to support film marketing concepts. The film
marketing concept’s aim is to determine, evaluate and analyze,
even during the script development phase, target groups,
motivations for viewing a film and marketing opportunities.
Producers can apply for film marketing grants together with
the application for story development support. As soon as
the completed script has been accepted by the MDM, the
funds for the marketing concept (up to 12,500 Euro) can be
distributed.
With these guideline changes, even larger amounts of support
for story development and package grants can be applied for.
All new guidelines and application forms can be found on the
Internet under www.mdm-foerderung.de.
Scene from <S> (Next Generation 2001)
Over DM 35,000,000 in
Film Promotion:
FFA-Industry Tiger and FFA-Short
Tiger Awards 2001
FFA-Industry Tigers for the most successful distributors went to:
Columbia TriStar for Anatomy · Constantin Film
for Ants in the Pants (Harte Jungs), Crazy, and
The Bunnyguards (Erkan & Stefan) · Tobis Studio
Canal for Otto – Der Katastrofenfilm · Warner
Bros. Film for Der kleine Vampir
This year’s FFA-Short Film
Prize Short Tiger, for the promotion of up-and-coming
creative talent, is worth
DM 250,000. The grant,
which was increased by
DM 50,000 for the awarding
of an animation film, goes
to six graduates of German
film schools. The FFA jury
selects the winners from 18
short films presented by German film schools. The awarding of
the Short Tiger takes place at the beginning of July, as last year,
during the Munich International Film Festival.
Third Location Tour
Black Forest
From 28 - 29 June, the MFG film fund invites producers
and filmmakers to join this year‘s location tour Southwest.
The two-day discovery of shooting-locations in BadenWuerttemberg will lead into parts of the black forest as well
as to Baden-Baden and its periphery, providing a large variety
of contrasting motifs.
FilmFörderung Hamburg:
International Commitment
FilmFörderung Hamburg will continue to pursue its
international commitment. This involves providing both concrete support for international co-productions and assisting in
establishing international networks. As the German partner
for the European screenwriting training program, "North by
Northwest", FilmFörderung Hamburg has close
contacts to Denmark and Ireland, as well as to Estonia, Latvia
and Lithuania in its role as co-organizer of the ”Baltic Film
Festival“. ”We hope to encourage an exchange between
producers, and have the international aim of presenting ourselves as a major German film location,“ states Eva Hubert,
managing director of FilmFörderung Hamburg. This
also includes a strong presence at international festivals:
FilmFörderung Hamburg will once again be presenting
its extensive range of services at this year’s Cannes Festival,
at the Focus Germany stand in the Marché du Film.
29
For Pisacane, the project follows in CAMEO’s tradition of working
with young, first-time directors: in 1995, the Cologne-based outfit
was a co-producer on the multi-award-winning documentary
Nico Icon by Susanne Ofteringer who, like Aladag, was
a graduate of the Academy of Media Arts (KHM) in Cologne; and
last year saw the company collaborate with another KHM graduate, Hans Weingartner, on his Max Ophüls prize-winner.
Daniel Brühl (photo © CAMEO)
Born in 1968, director Aladag has worked as a freelance filmmaker since 1995 and made a number of shorts and documentaries during his studies at the Academy from 1996, including the
award-winning documentary Zoran and the short Listen (Hör
Dein Leben) which was selected last year to screen in the
Export-Union’s Next Generation showcase of new films by
students from German film schools.
MB
La Grande
Char treuse
Elefantenherz
Original Title Elefantenherz Type of Project Feature Film
Genre Coming-of-age story Production Company Cameo
Film- und Fernsehproduktion, Cologne With backing from
Filmstiftung NRW, WDR Producer Annette Pisacane
Director Züli Aladag Screenplay Marija Erceg, Jörg Tensing
Director of Photography Judith Kaufmann Principal Cast
Daniel Brühl, Erhan Emre, Jochen Nickel, Manfred Zapatka
Length 90 min Format Super 16 mm, color, Dolby SR
Shooting Language German Shooting in Cologne from
April 2001
Original Title La Grande Chartreuse Type of Project
Documentary Film Production Company Philip Gröning
Filmproduktion, Düsseldorf, in co-production with BR, Munich,
ZDF, Mainz, ARTE, Strasbourg With backing from
Filmförderungsanstalt (FFA), Filmstiftung NRW Producer Philip
Gröning Director Philip Gröning Co-director Nicolas
Humbert Director of Photography Philip Gröning
Editor Philip Gröning Format Super 16 mm / Sony HD
Shooting in La Grande Chartreuse, France in either summer
2001/winter 2002 or February - May 2002
Contact:
CAMEO Film- und Fernsehproduktion
Lübecker Str. 6, D-50668 Cologne
phone +49-2 21-9 12 81 20 · fax +49-2 21-9 12 81 33
www.cameo-film.de · email: info@cameo-film.de
The screenplay by Marija Erceg and Jörg Tensing is
described by producer Annette Pisacane of CAMEO Filmund Fernsehproduktion as a “coming-of-age story” about a young
boxer in the amateur league who dreams of going professional
and has to learn what sacrifices he has to make if he wants to
realize this ambition.
The main role of the budding boxer searching for his own identity
is played by the newcomer talent Daniel Brühl, who came to
greater attention earlier this year through another CAMEO production – Hans Weingartner’s Das weisse Rauschen –
while the part of his Turkish friend and fellow boxer was taken
by Erhan Emre (known to audiences from his appearances in
Martin Eigler’s Freunde and Miguel Alexandre’s Gran
Paradiso). Other supporting roles have been cast with
Jochen Nickel and Manfred Zapatka.
30
Philip Gröning (photo © Bavaria Film International)
Principal photography began at the beginning of April in North
Rhine-Westphalia on Elefantenherz, the first full-length feature
by Turkish-born director Züli Aladag, as part of the “Sixpack”
initiative launched by broadcaster WDR and Filmstiftung NRW to
support new directorial talents.
Contact:
Philip Gröning Filmproduktion
Lohauser Dorfstraße 40e · D-40474 Düsseldorf
phone +49-2 11-4 70 91 23 · fax +49-30-26 55 09 21
email: film_groening@compuserve.com
Some sixteen years ago, filmmaker Philip Gröning (L’Amour
L’Argent L’Amour) thought up the idea of a film about the
Carthusian monastic order and researched the subject with
in p r o d u c t i o n
Nicolas Humbert, a fellow student from his days at Munich’s
Academy of Television and Film (HFF/M).
At the end of 1980s, Gröning made the acquaintance of one of
the Carthusian priors who has since become the head of the La
Grande Chartreuse monastery near Grenoble in the French Alps.
They kept in contact over the following years, and Gröning has
now received permission to be the first filmmaker to visit the
monastery since 1960.
”In the 1960 film they were not allowed to show the monks’ faces
and, since then, there were no films made there. This documentary will be extremely austere“, Gröning explains, ”there will be
no interviews, not a single commentary. It will be like a meditation
about the monastery. One won’t learn anything about the monks
except that after 90 minutes of film one will have the feeling that
one understands a lot about what life means to them. So it will be
more on the emotional level than about receiving information“.
Gröning plans to live in the monastery for three months, cut off
from the rest of the world and without any team. He will have an
editing suite set up in the monastery to work on the film, and codirector Humbert will join him for a week or so at a time to
bring in another perspective.
Gröning admits that ”it will be difficult to transport without
words what contemplative life in the strictest sense is, and to
show a life that is exclusively concerned with coming nearer to
God“, but he hopes that immersing himself in the monks’ daily
routine over such a long period will point up the rhythmic and
repetitive quality of their lives.
Now, two years later, Rommel and Dresen are back together
again on a new project with the working title of Halbe Treppe,
which Rommel describes as ”an experimental feature with as
little production ballast as possible“ using a Sony DV camera and a
miniscule team – seven crew and four actors – for the story set in
Frankfurt/Oder on the border with Poland.
Commenting on the film’s title Halbe Treppe, Rommel
says that they ”wanted to recount half of the life of normal
people. What happens when one gets to halfway in life and then
asks: ‘how does it go on?’. There was an initial storyline from
Andi, but this was then reflected anew each day by the actors
and crew, i.e. the story was developed further and altered on a
daily basis“.
”Each of the protagonists in the film have their respective
professions“, Rommel adds, ”that meant that, in the mornings,
they often went to their ‘jobs’ and were then there for filming
in the afternoons. And, sometimes, they were in their
professions for one or two days in a row without any filming
being done“.
Working with digital video made the logistics of shooting at
original locations much easier because, unlike on normal film
shoots, “we could just say ‘Let’s go into a perfumery today and
shoot’, and this was possible”, Rommel recalls. Moreover, the
production had a special character since the team and actors all
lived together in a hotel in Frankfurt/Oder for the duration of
the two month shoot: “In that situation, you can’t switch off so
easily because we were constantly together”, Rommel observes,
“unlike normal film productions where everyone has a break away
at some point”.
MB
MB
Halbe Treppe
Original Title Halbe Treppe (working title) Type of
Project Feature Film Genre Drama Production Company
Rommel Film, Berlin Producer Peter Rommel Director
Andreas Dresen Screenplay Andreas Dresen Director of
Photography Michael Hammon Principal Cast Steffie
Kühnert, Gabriela Maria Schmeide, Axel Prahl, Thorsten Merten
Format Digital Video Shooting Language German
Shooting in Frankfurt an der Oder from 16 January to the
beginning of April 2001
Contact:
Bavaria Film International · Dept. of Bavaria Media
Bavariafilmplatz 8 · D-82031 Geiselgasteig
phone +49-89-64 99 26 86 · fax +49-89-64 99 37 20
www.bavaria-film-international.de
email: Bavaria.International@bavaria-film.de
After being the German partner on several international co-productions, Berlin-based producer Peter Rommel worked
together with director Andreas Dresen to produce his “Short
Cuts”-style Night Shapes (Nachtgestalten) which was
shown in the official competition of the Berlin Film Festival in 1999
and enjoyed a successful international festival career.
Axel Prahl (photo © Peter Hartwig)
31
Im Osten geht
die Sonne auf
But having made it to the first division, the question on everybody’s lips is ”for how long?“ Promotion was achieved through the
efforts of the manager, former East German international Eduard
Geyer, and his troop of foreign ”football legionnaires“, but the
money for a truly top team is lacking.
There are the players, such as Moussa Latoundji from Benin (who
knows what it’s like to be a foreigner) and Franklin Bittencourt
from Brazil, who’s been playing soccer in Germany for over seven
years.
Original Title Im Osten geht die Sonne auf English
Title The Sun is Rising in the East Genre Documentary
Production Company MGS Filmproduktion, Munich, for
Bayerischer Rundfunk, Munich and ORB, Potsdam Producer
Carolin Müller Director Wolfgang Ettlich Director of
Photography Hans-Albrecht Lusznat Editor Monika
Abspacher Length 90 min Format 16 mm, color, 1:1.77
Shooting Language German Shooting in Cottbus
There are Michael and Simone, regular customers at the local
kiosk on a run-down housing estate and Inge, who has waited
tables for thirty years. If it weren’t for loyal customers and rock
bottom prices, she’d have closed long ago.
Contact:
MGS Filmproduktion
Georgenstr. 121 · D-80797 Munich
phone +49-89-1 23 64 65 · fax +49-89-1 23 64 99
email: mgs@az-online.net
Franklin Bittencourt
Team sponsor and local butcher Hartmut feeds the fans and, like
Inge, hopes for new business. And there is Christian, gardener and
loyal Energie supporter.
Im Osten geht die Sonne auf looks at the last season, how
the club’s rise has changed the life and political mood in the region
and the effect it’s had on the people of Cottbus itself.
SK
Ninas
Gesc hic hte
Original Title Ninas Geschichte (working title) English
Title Nina’s Story (working title) Type of Project Feature
Genre Tragicomic Love Story Production Company Bosko
Biati Film, Berlin, in co-production with ZDF, Mainz With
backing from Beauftragter der Bundesregierung für Kultur und
Medien (BKM), Filmboard Berlin-Brandenburg, Filmförderungsanstalt (FFA), Mitteldeutsche Medienförderung (MDM)
Producer Jörn Rettig Director Joseph Orr Screenplay
Joseph Orr Director of Photography Stefan Wachner
Editor Bernd Euscher Music by Bert Wrede Principal
Cast Henriette Heinze, Simon Schwarz, Julia Bremermann
Length 100 min Format 35 mm, color, 1:1.85 Shooting
Language German Shooting in Arnstadt, Thuringia
For fans of soccer club Energie Cottbus, 29 May 2000 was the
most important day after the fall of the Berlin Wall. Their team
beat FC Cologne and won promotion to the first division. This
time local skinheads had something new to chant. Most of the
114,000 inhabitants also took to the streets, carrying the crossbar
of the goal through which star player, Vasile Miritua, had put
the winning shot.
Miritua, a Romanian and once a mistrusted foreigner, had not
only secured his team’s place, but had also become ”one of us.“
And Cottbus, at least for a couple of days, could set aside its
reputation as Germany’s most foreigner unfriendly city. The
underdogs had roared.
Cottbus was long East Germany’s ”Cinderella“ city and this was an
opportunity to wave the flag of civic pride, so often tarnished by
the city’s unenviable reputation for violence and intolerance. It
hoped visiting fans would also bring opportunities for economic
improvement and much needed outside investment.
The city’s hoteliers, shopkeepers, souvenir sellers, restaurant and
bars owners can certainly look forward to increased takings and,
with unofficial unemployment somewhere between 20-30%, anything that creates new jobs is more than welcome.
32
Contact:
Bosko Biati Film
Auguststr. 34 · D-10119 Berlin
phone +49-30-2 84 49 40 · fax +49-30-28 44 94 11
If there is a thread running through Jörn Rettig’s one man
company Bosko Biati Film’s productions it has to be their
emphasis on the character of the lead figure, on a quite ordinary
person, unassuming, modest even, who holds and fascinates
through who, not what, they are.
Take the company’s lyrical comedy Zugvögel … einmal nach
Inari (Trains ’n Roses, 1997) for example. Under Peter
Lichtefeld’s direction, Joachim Król turns in a fantastic performance, both humorous and moving, as the little man determined to make it to, of all things, the world railway timetable and
route memorization championship in Finland. Hot on his heels is
the detective (Peter Lohmeyer), convinced that Król has
committed a serious crime.
Nina’s Story is that of a woman who can see beyond reality
and of her attempt to impart her gift, her knowledge, to the man
she loves.
Back in the black and white 1950s, as if the threat of nuclear annihilation and, worse yet, Communism, wasn’t enough, there were
also those pesky rampaging giant ants, rampaging giant spiders,
flying saucers landing in the desert, invasions of body snatchers,
Martians up to no good, creatures in black lagoons and all kinds of
things just itching to destroy mom, apple pie and, yes, civilization
as we know it!
Now the B-movie is back!
Planet der Kannibalen is Rotwang Film’s third production. After Rotwang muss weg and the German Film Prize winning Beim nächsten Kuss knall ich ihn nieder, comes a
black and white, low budget, science fiction satire.
Joseph Orr (photo © Stefan Wachner)
She lives in a small town in central Germany; a 30-year-old single
woman who would be living alone if it weren’t for the ghosts of
the dear departed who keep her company and whom she knew
while they were alive or from tales told by her grandmother. If
she lived in another time, another culture, she would be revered
as a mystic. In a small town in Germany it’s more complicated.
Nina falls in love with Max, the husband of her best friend, Sibylle.
Despite both their efforts to the contrary, driven by her love, her
character and the ghosts, Nina eventually decides to begin an
affair. For Max it means betraying his wife, slipping from one lie to
another until his wife leaves him.
But living with Nina means living in her world, together with the
ghosts, creatures free of doubts and pain. They and Nina represent forces far stronger than he is and, try as he might, he fails to
meet his own ideal of proving worthy to her. He flees back to the
world whose forces and circumstances he understands, that of
Sibylle and his children.
Nina’s suicide attempt fails and, in the hospital, she discovers that
she is pregnant. She now lives a soulless and empty existence,
surrounding herself with a protective wall through which no man,
no ghost, can penetrate. Until, that is, she sees the baby’s face
on the ultrascanner. At that moment, the ghosts return and Nina
lives again.
SK
Writer-director Hans-Christoph Blumenberg, having
finished the German reunification drama-documentary
Deutschlandspiel, decided to give his imagination free rein
and set out to revive the genre that, certainly in Germany, has
become neglected these past few years. But you only have to
think of Metropolis to realize that science fiction is part of
German filmmaking’s genetic heritage.
Planet der Kannibalen is set in the year 2020, in a Germany
where the European economic system has collapsed and a poverty
stricken country in the grip of an energy crisis is about to celebrate thirty years’ reunification. Meanwhile, the two remaining
media giants, Alphaplus and Eurolux, are fighting to the death for,
what else?, ratings. Their weapons, ever more extreme game- and
talk shows.
Minh Khai plays Emma Trost, Alphaplus’ director for trend
management. Her mission is to find aliens in the city, lure them
onto a talk show and win the ratings war for once and all. Emma’s
cool as she knows there are no such things. Aren’t there? But just
as her boss is about to tell her where they’re hiding, he’s shot.
Emma, a murder suspect, is forced to flee through a night time city
of cannibals, criminals, tycoons and terrorists until she meets
media desperado Adam Singer. Together they set out to solve the
mystery of the aliens.
Shot in just 19 days on a budget of only DM 2.1 million, by using
deferments Rotwang’s owners, Blumenberg and Brandt,
have assembled a stellar cast. Not only TV presenter Minh Khai
and star actress Barbara Auer, but writer-director Fatih
Akin (Im Juli) also lends his talents.
SK
Planet der
Kannibalen
Original Title Planet der Kannibalen Type of Project
Feature Genre Science fiction satire Production Company
Rotwang Film, Hamburg With backing from FilmFörderung
Hamburg, ARTE, Strasbourg, ZDF, Mainz Producers Patrick
Brandt, Hans-Christoph Blumenberg Director Hans-Christoph
Blumenberg Screenplay Hans-Christoph Blumenberg
Director of Photography Klaus Peter Weber Editor
Florentine Bruck Music by Nick Glowna Principal Cast
Minh-Khai Phan-Thi, Florian Lukas, Barbara Auer, Fatih Akin,
Vadim Glowna Format 35mm, b/w, 1:1.85 Shooting
Language German Shooting in Hamburg and surroundings
Contact:
Rotwang Film GmbH
Koppel 94 · D-20099 Hamburg
phone/fax +49-40-24 48 64
Minh-Khai Phan-Thi (photo © Baernd FRAATZ)
33
Die Prüf ung
Original Title Die Prüfung Type of Project Feature Film
Genre Love story Production Company Mediopolis Film
GmbH, Cologne, in co-production with WDR, Cologne With
backing from Filmstiftung NRW Producer Alexander Ris
Commissioning Editor Andrea Hanke (WDR) Director
Seyhan Derin Screenplay Seyhan Derin Director of
Photography Martin Farkas Principal Cast Arzu Bazmann,
Fatih Alas, Dennis Grabosch, Volker Büditz, Sigo Lorfeo, Dinah
Maria Helal, Lilia Lehner, Nina Jaruga, Klaus Nierhoff, Sabine
Adams Format Super 16 mm, color, 1:1,85 Shooting
Language German Shooting in Cologne from 6 March 2001
for 25 days.
approached him with another script (for Papierdrachen, which
they will now film later) and then suggested Die Prüfung which
he describes as ”a love story and a first love against all odds with a
happy end“.
”What we like about this film is that it is not a heavy subject“,
Ris explains, ”it is a universal love story set against a real social
background with real people and their problems. Love is something universal, as are the problems young people have when
they go against their parents’ wishes to live with someone in
another land“.
Fatih Alas (photo © Mediopolis Berlin GmbH)
Contact:
Mediopolis Film- & Fernsehproduktion GmbH
Bülowstr. 66 · D-10783 Berlin
phone +49-30-2 35 56 00 · fax +49-30-23 55 60 66
www.mediopolis.de · email: office@mediopolis.de
Die Prüfung centres on Deniz, a girl of Turkish descent in her
last year of school, who had met and fallen in love with a young
man called Umut on a visit in Turkey. He returns to Germany illegally to be reunited with Deniz, but his presence threatens to
jeopardize Deniz’s preparations for her school-leaving exams,
much to the chagrin of her parents who demand that she break
off all contact with the impetuous young man … ”We spent a very
long time casting for the film“, Ris declares, ”because we needed
actors around eighteen to nineteen, so we couldn’t take people
who were much older and had played lots of roles“. At the same
time, Die Prüfung marks a reunion of director Derin with
cinematographer Martin Farkas who worked most recently on
Dominik Graf’s Der Felsen and had been behind the camera
for her on her award-winning documentary Ben annemin
kiziyim – Ich bin Tochter meiner Mutter.
MB
Semper 2000
Original Title Semper 2000 (working title) Genre Creative
Documentary Production Company Next Film Filmproduktion, Hamburg, in cooperation with ZDF, Mainz With
backing from FilmFörderung Hamburg, Mitteldeutsche
Medienförderung Producer Thomas Tielsch Director
Thomas Tielsch Screenplay Thomas Tielsch, Niels Bolbrinker
Director of Photography Niels Bolbrinker Editors
Thomas Tielsch, Niels Bolbrinker Length 80 min Format
35 mm, color, 1:1.66 Shooting Language German
Shooting in Dresden, Berlin
Contact:
Next Film Produktion GmbH
Lippmannstr. 53 · D-22769 Hamburg
phone +49-40-4 31 86 10 · fax +49-40-43 18 61 11
email: nexthh@nextfilm.de
Principal photography wrapped at the beginning of April on
Seyhan Derin’s debut fictional feature-length film Die
Prüfung at locations in and around Cologne.
Produced by the Cologne outpost of Berlin-based production
company Mediopolis Film, whose past credits include Thomas
Riedelsheimer’s Rivers and Tides (Fluss der Zeit) and
Fred Kelemen’s Nightfall (Abendland), Derin’s romantic
drama was made within the framework of broadcaster WDR and
the Filmstiftung NRW’s ”Six Pack“ initiative for first-time directors.
As Mediopolis Film’s Alexander Ris recalls, Munich’s
Academy of Television & Film (HFF/M) graduate Derin initially
34
In the historic center of the German city of Dresden, one of the
baroque treasures of Europe, not far from the Semper opera and
the Frauenkirche, both destroyed in the last days of WWII and
now restored to their former glory, a new temple is taking shape.
A Volkswagen factory.
This, however, is no ordinary building. On one level it provides
transparency into the manufacturing process in that customers can
watch their vehicle, one of the 150 luxury and off-roadsters per
day, being assembled before their eyes. But here, purchasing a car
becomes part of tourism, part of a cultural experience. For the
first time, a company is no longer sponsoring culture, it is
presenting itself and its products as culture.
Nothing comes close to the automobile in terms of the changes it
has wrought in the last century. How fitting it is, then, that it is a
car manufacturer, presenting the final assembly of a luxury pro-
Hea ven
Contact:
CV Films
Greifswalder Str. 207 · D-10405 Berlin
phone +49-30-53 69 60 83 · fax +49-30-53 69 60 85
email: cvfilmsberlin@aol.com
Six years ago, the Berlin author Michael Roes lived and worked
in Yemen for over one year, undertaking an ethnological field
study on the traditional games and dances of the South Arabian
tribes, which resulted in his award-winning novel Rub’Al-Khali.
Leeres Viertel in 1996.
Thomas Tielsch, Niels Bolbrinker
duct on a public stage in the center of a cultural metropolis, which
is now redefining our definition of what constitutes public space.
Semper 2000 examines not just the VW project itself (including
the company’s brand-strategic and cultural visions) but also looks
at the changes in use and definition of public space as well as the
history of modern architecture and town planning.
The building itself is 150 m long, 40 m high, and is costing DM 300
million. Producing the expensive jewels of motoring, it is both a
showcase for those jewels and itself designed to shine brightly,
both day and night.
It is not just in Dresden but, like the historic building and gardens
nearby, also of Dresden. What do the local people, those affected
directly and indirectly, make of this new addition to their city, this
triumph of the modern baroque? What of them and their milieu?
Semper 2000, structurally and contextually, matches pace
with the building’s construction. The construction workers also
feature, those modern successors of all the now mute artisans
who, over the centuries, chipped, chiselled, heaved and hoisted to
build the cathedrals, opera houses, palaces and other monuments
of their day.
This winter, he returned to South Arabia to make the feature film
Someone Is Sleeping In My Pain about an American film
director (played by the Afro-American theater director, actor and
dancer Andrea Smith) who comes to the region’s mountain
ranges to make an Arabic version of Shakespeare’s Macbeth with
the Yemenite tribal warriors.
”Fascinated by the hostility of the landscape and the seriousness of
its inhabitants, [the director] wants to use the archaic backdrop to
capture the warriors’ everyday life as authentically as possible“,
Roes explains. ”Then, for them, honor, hospitality and blood
feuds – those medieval concepts which occupied the Scottish king
Macbeth – are not obsolete ones, but are values that are still valid
and lived out“.
”The appeal of this Macbeth adaptation is in making the difficulties
of its realization into the film’s subject. The circumstances of the
shooting provide the framework for the film in film, the South
Arabian Macbeth“, he continues. ”The boundaries between
the documentation of the work and the staged story become
increasingly blurred. The action of the feature film is reflected in
the way it is produced, in the Macbeth-like ambition of the
director. What was thought at the beginning of the film as being a
naïve equation of a contemporary traditional culture with a poetic
invention, develops into a dramatic debate between reality and
projection, reality and the mise-en-scène“.
MB
Past and present, history and reality, theory and practice, public
and private space, the threads are all pulled together. In a world in
which we have come to worship the car, their temple awaits.
SK
Someone Is
Sleeping In
My Pain
Original Title Someone Is Sleeping In My Pain Type of
Project Feature Film Genre Drama Production Company
CV Films, Berlin, in co-production with Michael Roes
Filmproduktion, Berlin Producers Ilona Ziok, Michael Roes
Director Michael Roes Screenplay Michael Roes Director
of Photography Manfred Andrej Hagbeck Principal
Cast Andrea Smith Format 35 mm (blow up) Shooting
Language English, Yemenite Shooting in New York and
North Yemen from December 2000 to January 2001
Scene from ”Someone is Sleeping in My Pain“ (photo © Manfred Andrej Hagbeck)
35
Tom Schilling, Alicja Bachleda-Curus (photo © Claussen + Wöbke Filmproduktion)
Tamara
Original Title Tamara (working title) Type of Project
Feature Genre Coming-of-age Story Production Company
Claussen + Wöbke Filmproduktion, Munich With backing
from FilmFernsehFonds Bayern, Filmförderungsanstalt (FFA),
Filmstiftung NRW Producers Jakob Claussen, Thomas Wöbke
Director Michael Gutmann Screenplay Michael Gutmann,
Hans-Christian Schmid Directors of Photography Pascal
Hoffmann, Klaus Eichhammer Editor Monika Abspacher Music
by Rainer Michel Principal Cast Tom Schilling, Alicja BachledaCurus, Matthias Schweighöfer, Anna von Berg, Katharina MüllerElmau, Leonard Lansink Length 100 min Format 35 mm, color,
1:1.85 Shooting Language German Shooting in Frankfurt,
Munich German Distributor Constantin Film Verleih GmbH,
Munich
Contact:
Claussen + Wöbke Filmproduktion GmbH
Herzog-Wilhelm Str. 27 · D-80331 Munich
phone +49-89-2 31 10 10 · fax +49-89-26 33 85
email: zentrale@cwfilm.com
Jakob meets Tamara, a Polish au-pair working in a suburb of
Frankfurt. He’s been away for over a year, staying with his father
in Berlin after dropping out of school, unable to face his mother’s
painful death from cancer.
But things didn’t work out there, his highly pregnant sister is less
than enthused to see him again, and his efforts to find and hold a
job and make friends keep falling through due to his gruff and
confrontational manner.
Tamara is the exception. For Jakob it’s love at first sight and while
she’s not so keen at first, he perseveres and the two become
inseparable. But an au-pair’s life isn’t easy and Jakob immediately
sticks his oar in and appoints himself her protector. But she’s a
self-aware young lady and can stick up for herself, which means
Jakob’s efforts only lead to sometimes amusing, sometimes
unpleasant, situations with her friends and host family.
Finally Tamara has to return to Poland. Least of all because Jakob’s
talent for opening his mouth at the wrong time and acting without
thinking has finally made a bad situation worse. While the two say
their farewells at the bus station, uncertain if they’ll ever see each
other again, buses full of new au-pairs are arriving, young women
full of hope being welcomed by their smiling and laughing girlfriends.
Aimed at a male and female audience, aged 15-25 years, Tamara
appeals to those who enjoyed films such as Crazy (direction and
36
script Hans-Christian Schmid, co-written by Michael
Gutmann), Lola rennt and Nach fünf im Urwald (script
and direction Hans-Christian Schmid).
And, unlike some films, Tamara is proud to wear its commercial
credentials on its sleeve. That’s because production company
Claussen + Wöbke (that’s Jakob Claussen and Thomas
Wöbke) is the name behind some of the country’s most recently
successful films. Not just coming-of-ager Crazy (1.5 million
admissions), Die Apothekerin, Nach fünf im Urwald
(with Franka Potente) but also, in co-production with
Deutsche Columbia Pictures Filmproduktion, for Anatomie.
Again starring Franka Potente, the medical horror/thriller
sold 2 million tickets, making it the most successful German film in
2000. It not only won the Audience Award of that year’s German
Film Prize but gained one of the highest honors the industry can
bestow – a sequel … so, look out for Anatomie 2!
SK
Untitled
MTM Project
Original Title Untitled MTM Project (working title) Type of
Project Feature Film Genre Melodrama Production
Company MTM Medien & Television München, Munich, in
co-production with Constantin Film Produktion, Munich, and
Dschoint Ventschr Filmproduktion, Zurich, in association with
Filmhaus, Vienna With backing from Filmboard BerlinBrandenburg, FilmFernsehFonds Bayern, Filmförderungsanstalt
(FFA) Producer Andreas Bareiß Associate Producer
Wolfgang Ramml Director Urs Egger Screenplay Jens Urban
Director of Photography Lukas Strebel Principal Cast
Mario Adorf, Bruno Ganz, Günter Lamprecht, Otto Tausig,
Annie Girardot, Nina Hoss Format 35 mm, color Shooting
Language German Shooting in Berlin and Vienna from
mid-February to end of March and in May 2001 German
distributor Constantin Film Verleih GmbH, Munich
Contact:
Bavaria Film International · Dept. of Bavaria Media
phone +49-89-64 99 26 86 · fax +49-89-64 99 37 20
”A chamber piece and a highly emotional drama“ is how producer
Andreas Bareiß describes Urs Egger’s new as-yet-untitled
project about three Jewish Holocaust survivors who come across
one of their tormentors from the concentration camp in the guise
of a Catholic priest some four decades later.
Bareiß recalls that the original screenplay was sent to him by
writer Jens Urban just at the time of the controversy
surrounding Martin Walser’s Holocaust speech in summer 1999.
”It is an extraordinarily important project“, he declares, ”if you
consider your profession as a producer not only as a profession
but also as a calling, then you have a certain responsibility for the
kind of films you make. This is certainly a film which will lead
to a discussion that concerns us all, i.e. about law and justice,
guilt and expiation. It will be a film that raises and discusses the
issue once more because there is no forgetting, no forgiving and
no liberation from guilt“.
When casting began for this prestige production, it became clear
to Bareiß and director Egger that there was only one actor in
the German speaking area who could play the central character
of Epstein – Mario Adorf. ”And he was involved very early
The film’s author and director, Alice Agneskirchner, goes in
search of this special feeling of home and heart. In Wildenranna everybody has their tale to tell. The people take life’s
many struggles and setbacks as they come, laconically, sometimes
ironically, with a smile and tear on their furrowed faces.
Places like Wildenranna will soon be a thing of the past as life
there becomes more and more like life everywhere else. And films
like Wildenranna will be all that remains to document what
once was.
There is a German film tradition known as the Heimatfilm. The
word ”Heimat“ itself translates into English as ”home“, as in
”home is where the heart is“. The genre enjoyed a boom in the
post-war years as cinemagoers sought escapism in harmless,
sentimentalized (kitsch, even) entertainment. But all these films
were based on idealized reality. They were fiction. Wildenranna is the actuality and life is physically and mentally very hard.
Bruno Ganz, Mario Adorf, Otto Tausig (photo © MTM)
of Epstein - Mario Adorf. ”And he was involved very early
on, also contributing to the development of the screenplay“,
Bareiß explains, ”and only then did we cast the other parts for
our dream cast“.
Alice Agneskirchner was born in Munich and studied
Direction at the ”Konrad Wolf“ Academy of Film and Television
in Babelsberg, just outside Berlin. In addition to having made a
number of documentaries, she is probably one of the few industry
professionals who can claim to have worked as a horse trainer in a
circus and a cowgirl in Wyoming!
”The forum for this film is not limited to Germany”, Bareiß
continues, “it is a film which has countries abroad in its sights, and
I think that if there is a strong interest in the film abroad, this will
have an effect on its reception back in Germany“.
Shooting on the DM 7.6 million project began in Berlin in midFebruary and continued in Vienna during March, followed by
a second shoot in Berlin from mid-May. Delivery of the film is
scheduled for August 2001.
MB
Original Title Wildenranna – Ein Heimatfilm (working title)
Type of Project Documentary Genre Direct Cinema,
Ethnographic Film Production Company Tangram Christian
Bauer Filmproduktion, Munich, for Bayerischer Rundfunk, Munich
With backing from FilmFernsehFonds Bayern Producer
Christian Bauer Director Alice Agneskirchner Screenplay
Alice Agneskirchner (Documentary Treatment) Directors of
Photography Johannes Straub, Rainer Hartmann Editor
Julia Furch Format Digital Betacam, color, 16:9 Shooting
Language German Shooting in Wildenranna (Bavarian
forest)
Contact:
Tangram Christian Bauer Filmproduktion
Herzog-Wilhelm-Str. 27 · D-80331 Munich
phone +49-89-2 36 60 60 · fax +49-89-23 66 06 60
www.tangramfilm.de · email: info@tangramfilm.de
Alice Agneskirchner, Rudl Kurzböck (photo © Tangram Film 2001)
Wildenranna –
Ein Heimatfilm
Producer Christian Bauer is responsible for more than fifty
documentaries and in 1993, after several consecutive nominations,
won the Adolf Grimme Prize, the equivalent of a German Emmy,
for his film on the last days of an American army garrison in
Bavaria, Der Ami geht heim.
SK
Wildenranna is as picturesque as German villages come. It lies
in lower Bavaria, not far from Austria and the Czech Republic, in
an area of unsurpassed natural beauty famed for its gently rolling
hills, wide valleys and native forests. It’s home to nine hundred
people, has a church and a local bar. Winters are hard, summers
are short and cold. The local industries are agriculture and timber.
The 1930s saw a wave of emigration to the United States as
people sought their fortune overseas. Many returned, unable to
sever their ties with home. As the locals say, this feeling of
belonging, of being together, was always something special to
Wildenranna and still is.
37
No examination of the history of cinema is complete without a survey as to the
most important or favorite films of all time. In an international context American
titles dominate; films such as Gone with the Wind and Citizen Kane
through to Schindler’s List and Titanic. In 1995, on the occasion of the
100th Birthday of the Cinema, the Stiftung Deutsche Kinemathek
organized a survey of film historians, journalists, editors and filmmakers to ask
them which 100 German films, from the very beginning to the present day, they
considered to be the most significant. They were asked to name those films
”which, for the spectrum of German film history, are of outstanding significance
artistically, politically or socially.“
324 industry experts voted in the first round to decide places 1 to 75. The result
was announced in February 1994 at the International Film Festival in Berlin. In
the second round of voting, for places 76 to 100, 228 people were asked for
their opinion. The results were collected in autumn 1994 and announced in the
anniversary year.
Highlights of
German Film History
A S U RVEY BY TH E STI FTU NG DE UTSC H E KI N E MATH E K
THE 100 MOST SIGNIFICANT
GERMAN FILMS
Among those who voted were film makers Herbert Achternbusch, Frank Beyer,
Alexander Kluge, Kurt Maetzig, Edgar Reitz, Christoph Schlingensief, Volker
Schlöndorff, Margarethe von Trotta, Wim Wenders and Bernhard Wicki,
journalists Peter Buchka, Wolf Donner, Peter W. Jansen, Hellmuth Karasek,
Ponkie and Will Tremper, the internationally renowned film historians Freddy
Buache, Bernard Eisenschitz, Ulrich Gregor, Naum Klejman, Ib Monty, Enno
Patalas, Giovanni Spagnoletti, Jerzy Toeplitz and Karsten Witte, producers
Günter Rohrbach, Joachim von Vietinghoff and Jürgen Wohlrabe. Some of these
are, sadly, no longer with us but their ballots, along with the others, have been
archived for posterity at the Stiftung Deutsche Kinemathek.
Two of the 100 selected films were made before 1914, 37 are from the Weimar
Republic, 8 from the time of the Third Reich, 5 from the early post-war years,
36 from the Federal Republic and 12 from the German Democratic Republic.
Of the 100 titles, 24 films are silent and 76 are with sound. Fritz Lang, Georg
Wilhelm Pabst and Rainer Werner Fassbinder are represented by
more than six titles (Fassbinder is also included for his participation in
Deutschland im Herbst), Pabst for his co-direction on Die weiße Hölle
vom Piz Palu). Helmut Käutner, Wolfgang Staudte, Wim
Wenders and Konrad Wolf are each represented by four films, Friedrich
Wilhelm Murnau and Volker Schlöndorff by three.
Because the survey was so wide ranging, the first 100 rankings are principally
the most well-known and famous titles. But five documentaries, three large-scale
television productions and a few experimental works are also included.
Even six years on, the result of the survey is still representative. The highlights
of German film history are not meant to be written in stone for eternity, but
whoever has seen all one hundred films will have a solid basic historical knowledge of German filmmaking. Each year the number of new films one could term
really “significant” is, as we know, not particularly long.
Information about the 100 films can be found on the CD-Rom ”Die deutschen Filme“, which was released in 2000 by the German Film Institute
in Frankfurt and is also available from the Stiftung Deutsche Kinemathek
in Berlin.
Hans Helmut Prinzler
38
M – Eine Stadt sucht einen Mörder
A serial killer is keeping Berlin on pins and needles. The police commit everything they have to finding him, but
to no avail. Even the great amounts offered as reward money do not help, but only lead to more panic and
accusations. Not only the police, but also the underworld is interested in finding the killer, as the constant police
raids are ”disturbing“ their work and, since the killer is an outsider, he is ruining their reputation too. The police
are convinced that it can only be a pathologically ill person and investigate all such registered candidates. The
underworld organizes the city’s beggars to keep a look out. As the killer attempts to approach the next child, he
is seen by one of the beggars who calls one of his commissioners. The killer is followed into an office building,
circled in on and caught. The gangsters hold trial in the cellar of the building and even give the killer a defence
lawyer. The court and jury plea for the death penalty, but after the killer admits his guilt, the defence lawyer
warns that a psychologically ill person cannot be held responsible for his acts. In the meantime, the police have
found out where the killer is and just as the lynch mob is about to execute its sentence, the police storm in and
”save“ the killer with the line ”in the name of the law, you are arrested!“
Genre Thriller Category Feature Film Cinema
Year of Production 1931 Director Fritz Lang
Screenplay Thea von Harbou Director of
Photography Fritz Arno Wagner Editor Paul
Falkenberg Music motif from ”Peer Gynt“ from
Edvard Grieg Production Design Emil Hasler, Karl
Vollbrecht Producer Seymour Nebenzahl
Production Company Nero-Film, Berlin
Principal Cast Peter Lorre, Ellen Widmann, Inge
Landgut, Gustaf Gründgens, Friedrich Gnaß, Fritz
Odemar, Paul Kemp, Theo Lingen, Ernst Stahl
Nachbaur, Fritz Stein, Otto Wernicke, Theodor Loos,
Georg John, Rudolf Blümmer, Karl Platen Length
117 min, 3208 m Format 35 mm, b&w, 1:1.37
Original Version German Dubbed Versions
French, Italian Subtitled Version English
German Distributor Filmverleih Die Lupe,
Göttingen
Fritz Lang was born in 1890 in Vienna and died in 1976 in
Beverly Hills. He studied Architecture in Vienna and Painting in
Munich and wrote his first screenplay in 1916 for Joe May. Lang
was more than just a great director; he was a man who staged
himself and his life, who created the legend of his person, who
wanted his private life to remain invisible in order to further
launch his desired public image. He celebrated his first success
during the Weimar Republic, reacting to the massive political and
social changes and integrating them into his work. He left
Germany in 1933, emigrating via France to the United States in
1934, where he continued to tie political aspects into his work.
His films include: Die Spinnen (1919), Die Pest in
Florenz (1919), Harakiri (1919), Das wandernde Bild
(1920), Kämpfende Herzen (1920/21), Der müde Tod
(1921), Das indische Grabmal (1921), Dr. Mabuse,
der Spieler (1921/22), Die Nibelungen (1922-24),
Metropolis (1926), Spione (1927/28), Frau im Mond
(1928/29), M (1931), Liliom (1934), Hangmen Also Die
(1942), Ministry of Fear (1944), The Big Heat (1953) and
many, many more.
World Sales:
Atlantic-Film S.A. · Martin Hellstern
Münchhaldenstr. 10 · CH-8034 Zurich
phone +41-1-4 22 38 32 · fax +41-1-4 22 37 93
www.praesens.com · email: info@praesens.com
39
THE 100 MOST SIGNIFICANT GERMAN FILMS – 1
Scene from ”M – Eine Stadt sucht einen Mörder“ (photo © Filmmuseum Berlin/Deutsche Kinemathek)
M – A TOW N I S LO O K I N G F O R A M U R D E R E R
Das Cabinet des Dr. Caligari
Scene from ”Das Cabinet des Dr. Caligari” (photo © Filmmuseum Berlin/Deutsche Kinemathek)
T H E CA B I N E T O F D R . CA L I GA R I
Dr. Caligari, a demonic doctor and murderer, untouchable by the arm of the law (through the
exploitation and use of a somnambulist), is traced by his antagonist, whom he has robbed of
both friend and lover, to a mental hospital where he lives as its director. The vengeful young
antagonist uncovers the keeper of madmen as a madman himself; as a madman for whom the
example of faded criminal memoirs has become an obsession. And then all these events,
reproduced as the youth’s story, finally reveal themselves to be the fantasies of an equally sick
mind, and therefore a well-disposed audience can make friendly allowances for them, along with
the offensive décor; all the more so, since the director – actually a most upright fellow – now
also gives the young patient hope for recovery. After all, he has been in the madhouse …
Genre Drama Category Feature Film Cinema
Year of Production 1919/20 Director Robert
Wiene Screenplay Carl Mayer, Hans Janowitz
Director of Photography Willy Hameister
Music by Giuseppe Becce, Lothar Prox (1920), Rainer
Viertlböck (1994) Production Design Hermann
Warm, Walter Reimann, Walter Röhrig Producer
Rudolf Meinert Production Company Decla-Film,
Berlin Rights Friedrich-Wilhelm-Murnau-Foundation,
Wiesbaden Principal Cast Werner Krauß, Conrad
Veidt, Lil Dagover, Friedrich Fehör, Hans Heinrich von
Twardowski, Rudolf Lettinger, Ludwig Rex, Elsa
Wagner, Henri Peters-Arnolds, Hans Lanser-Ludolff
Length 62 min, 1509 m Format 35 mm, b&w,
1:1.33 Original Version German German
Distributor Transit Film GmbH, Munich
World Sales:
Transit Film GmbH · Loy Arnold, Mark Grünthal
Dachauer Str. 35 · D-80335 Munich
phone +49-89-5 99 88 50 · fax +49-89-59 98 85 20
email: transitfilm@compuserve.com
40
Robert Wiene was born in 1881 in Breslau and
died in 1938 in Paris. The son of an actor, he too
studied Acting and later became a story editor at
the Lessing Theater in Berlin. His first works were
for Sascha-Film in Vienna and Bioscop and Messter
Film in Berlin. After cooperation on Satanas with
Friedrich-Wilhelm Murnau he directed Das
Cabinet des Dr. Caligari, considered to be his
most important film. His other films include:
Genuine (1920), Raskolnikoff (1923), Orlacs
Hände (1924), the passion play I.N.R.I. (1923),
Ultimatum (1938) and many more.
Berlin . Die Sinfonie der Großstadt
Scene from “Berlin. Die Sinfonie der Großstadt“ (photo © Filmmuseum Berlin/Deutsche Kinemathek)
B E RLI N, SYM PHONY OF A C ITY
Genre Documentary Year of Production 1927
Director Walther Ruttmann Screenplay Karl
Freund, Walther Ruttmann Directors of
Photography Reimar Kuntze, Robert Baberske,
Laszlö Schäffer Music by Edmund Meisel
Production Design Erich Kettelhut Producer
Karl Freund Production Company Fox-EuropaProduktion, Berlin, commissioned by Deutsche
Vereins-Film, Berlin Length 65 min, 1466 m
Format 35 mm, s/w, no dialog German
Distributor Deutsches Filminstitut – DIF,
Wiesbaden
The external framework is the life of the metropolis from morning until midnight. At first, one senses the
atmosphere of the city; a long-distance train travels through the suburbs, making us increasingly aware of the
proximity of the colossus, shots of the journey, motion filmed with amazing technical skill, symbolize our
rushing towards the metropolis. The station, the dawn, Berlin! Gradually it awakens. The earliest workers
sparsely populate the streets. It grows in a crescendo, highlights fall on the centers of morning life, on
stations, factories, road junctions. Characteristic types are captured everywhere. And like an accompanying
tune, we have sections from the private lives of big-city people, houses waking up, apartments coming to life.
Midday arrives, evening arrives, again and again the objective fits to situations full of life, stealing the heart
of them. The photographer penetrates all areas, all districts, all social classes. Night falls, sections from the
dark existence of Berlin, flashes of light over the darkest periphery. Until the night gently covers over this
incomparably seething life with its calm veil of stars.
Walther Ruttmann was born in 1887 in Frankfurt and
died in 1941 in Berlin. He studied Architecture and Painting
and worked as a graphic designer. His film career began in
the early 1920s. His first abstract short films, Opus I (1921)
and Opus II (1923) were experiments with new forms of
film expression. Ruttmann and his colleagues of the avant
garde movement enriched the language of film as a medium
with new form techniques. Together with E. Piscator, he
worked on the experimental film Melodie der Welt
(1929). His other films include: Opus III (1925), Opus IV
(1925), Weekend (1930), Acciaio (Stahl, 1933),
Altgermanische Bauernkultur (1934), Schiff in
Not (1936), Mannesmann (1937), Henkel, ein
deutsches Werk in seiner Arbeit (1938), Waffenkammern Deutschlands (1940), Deutsche Panzer
(1940), Krebs (1941), and many more.
World Sales:
Eva Riehl
Volkartstr. 69 · D-80636 Munich
phone +49-89-1 29 72 74 · fax +49-89-1 23 80 66
41
Menschen am Sonntag
Scene from ”Menschen am Sonntag“ (photo © Filmmuseum Berlin/Deutsche Kinemathek)
P E O P L E O N S U N DAY
THE 100 MOST SIGNIFICANT GERMAN FILMS – 5*
A completely normal summer day in Berlin in 1929: life pulsates, the city vibrates full of energy,
there is action all around. As though it were coincidence, the viewer gains insight into the lives
of different residents of the metropole, and follows them through their everyday activities, their
work, their free time.
A young man waiting at a streetcorner for his dark-haired girlfriend. A taxi driver, Erwin, and his
wife and their triste domestic existence. On Sunday, Berlin is as empty as a ghost town. It seems
as though everyone flees to the countryside, the train stations are packed. Erwin meets up with
the young man and his female companions, who are on their way to a nearby lake. The two
men know each other and decide to make the excursion all together. The young man’s intense
flirting with his girlfriend’s friend arouses jealously in his girlfriend, especially when he arranges a
date with her for the following Sunday. Erwin reminds him that they already have plans to play
football next Sunday. When Erwin returns home, he finds his wife just as he left her, asleep.
Year of Production 1929/30 Director Robert
Siodmak Screenplay Billy Wilder Director of
Photography Eugen Schüfftan Editor Robert
Siodmak Music by Otto Stenzel Producer Moritz
Seeler Production Company Filmstudio 129, Berlin
Principal Cast Erwin Splettstößer, Brigitte Borchert,
Wolfgang von Waltershausen, Christl Ehlers, Anni
Schreyer, Kurt Gerron, Valeska Gert, Ernst Verebes,
Heinrich Gretler Length 74 min, 2014 m
Format 35 mm, s/w, 1:1.37 Original Version
German Subtitled Versions English, French
German Distributor Stiftung Deutsche
Kinemathek, Berlin
World Sales:
Atlantic-Film S.A. · Martin Hellstern
Münchhaldenstr. 10 · CH-8034 Zurich
phone +41-1-4 22 38 32 · fax +41-1-4 22 37 93
www.praesens.com · email: info@praesens.com
42
Robert Siodmak was born in 1900 in Memphis
and died in 1973 in Locarno. He studied in Marburg
and worked as an actor for the Ufa. In 1940, he
went to the United States and made a name for
himself with his psychologically accentuated crime
story films. He was a representative of the humanistic-realism of German films prior to 1933 and one
of the most important American directors of the
“Black Series”. His films include: Abschied (1930),
Voruntersuchung (1931) which was blacklisted
in 1933, Brennendes Geheimnis (1933), The
Suspect (Unter Verdacht, 1944), The Spiral
Staircase (Die Wendeltreppe, 1945),
Nachts, wenn der Teufel kam (1957) for
which he won a prize for Best Director at Karlovy
Vary, and many, many more.
(* no.4 Nosferatu was already presented within the framework of
the former series ”German Classic Movies“ in KINO 4/1999)
Berlin Babylon
Berlin after the Wall came down. Observations on
radical reconstruction of a city core. Images of the
conflict between the thirst for demolition and the
hunger for completion. Edited into a documentary
vision.
Since the Wall fell in 1989, the German capital has
been trying to overcome its catastrophic past, to
restore the urban fabric destroyed in the 20th
century, to build as if life depended on it, and to
cast off the shadows of yesterday’s darkness. The
film shows fascinating images of a city in transition.
It is the drama of real estate, of money and power.
Prominent architects, developers, politicians and
urban planners are seen at work.
(photo © S.U.M.O. Film)
No interviews, no statements. The music provides
the commentary. The Babylonian fable of
civilization, of the violence of construction, lives
on in reunited Berlin. The upheaval turns to stone.
Genre Educational, History Category Documentary TV
Year of Production 1996-2000 Director Hubertus
Siegert Screenplay Hubertus Siegert Directors of
Photography Ralf K. Dobrick, Thomas Plenert
Editors Peter Przygodda, Anne Schnee Music by
Einstürzende Neubauten Producer Hubertus Siegert
Production Company S.U.M.O. Film, Berlin, in coproduction with Philip Gröning Filmproduktion, Düsseldorf
Principal Cast Rem Koolhaas, Renzo Piano, Helmut
Jahn, Ieoh Ming Pei, Günter Behnisch, Josef P. Kleihues,
Axel Schultes, Angela Winkler Length 88 min, 2627 m
Format 35 mm, color, 1:1.85 Original Version
German Subtitled Version English Sound
Technology Dolby SRD International Festival
Screenings Berlin 2001 (Panorama) With backing
from Filmboard Berlin-Brandenburg, Filmbüro NW
German Distributor Piffl Medien GmbH, Berlin
Hubertus Siegert was born in 1959 in
Düsseldorf. He studied History, Art History
and Theater Studies in Berlin and graduated
with a degree in Landscape Architecture. He
began making documentary films during his
studies and went on to direct and produce
two short films Das Sonnenjuwel (1995)
and The Orange Kiss (1996) as well as
the short documentary Stravinsky in
Berlin (1993) with S.U.M.O. Films.
M
NNES
GS
AT C A
EENIN
R
C
S
T
ARKE
World Sales:
Media Luna Entertainment GmbH & Co. KG · Ida Martins
Hochstadenstr. 1-3 · D-50674 Cologne
phone +49-2 21-1 39 22 22 · fax +49-2 21-1 39 22 24
www.berlinbabylon.de · www.mediaLuna-entertainment.de
email: info@mediaLuna-entertainment.de · idamartins@mediaLuna-entertainment.de
44
Drei Stern Rot
3 S TA R R E D
3 Star Red is the name of the flare and
the code name used by East German
border guards to signal an escape attempt
over the deadliest stretch of the Iron
Curtain. During the shooting of a feature
film in the winter of 2001, Christian
Blank, a man playing the bit part of an
East German border guard, goes berserk.
For no apparent reason, he attacks one of
the leading actors and tries to kill him.
He is taken to the psychiatric ward of a
hospital, where a tired but attractive
psychiatrist, Dr. Wehmann, treats him.
She is soon fascinated by what she hears.
Blank was, in fact, an East German border
guard in real life. He mistook the film
actor for the vicious and sadistic Major
Nattenklinger, his former commanding
officer. Blank delves into the depths of
his soul to reveal what he has gone
through. The more he tells, the more it
becomes clear that he is not as insane as
he first seemed.
(photo © Telepool)
3 Star Red is the almost unbelievable
story of a man who found out what true
horror was, who lost everything, including
the love of his life. Now, years later,
reality and ”insanity“ merge to form a
chilling narrative of dashed hopes, love
and betrayal, danger and the blunt desire
for revenge …
Year of Production 2001 Director Olaf Kaiser
Screenplay Holger Jancke Director of
Photography Matthias Tschiedel Editor Sabine Brose
Music by Rainer Kirchmann Production Design
Anne-Katrin Hendel Producer Olaf Jacobs Production
Company Hoferichter & Jacobs, Berlin, in co-production
with ZDF, Mainz Principal Cast Rainer Frank, Petra
Kleinert, Meriam Abbas, Dietmar Mössmer, Bastian Trost
Special Effects Special Effects, Berlin Studio
Shooting Studio Babelsberg, Potsdam Length 88 min,
2490 m Format 35 mm, color, 1:1.85 Original
Version German Subtitled Version English
Sound Technology Dolby SR With backing from
Mitteldeutsche Medienförderung, Kulturelle Filmförderung
Sachsen-Anhalt
Olaf Kaiser, born in 1959 in Berlin, studied at the
”Konrad Wolf“ Academy of Film & Television in
Babelsberg. From 1977-1979, he worked as a set
decorator, production assistant and volunteer in the
story department at the DEFA-Studio in PotsdamBabelsberg. From 1983-1984, he became an assistant in
the story department and from 1986-1990 was a script
doctor at the DEFA-Studio. Since 1991, he has been
working as a freelance script doctor, writer and director.
He has directed such films as Ich bin taub – aber
nicht stumm (short, 1991), Demokratie üben
(short, 1992), Deutschland im Glas (documentary,
1993), Wer anhält stirbt (1995) and wrote the
scripts for Der Benzintrick (1997), the Tatort-episode
Berliner Weiße (1997) and Benzin (1999).
World Sales:
Telepool – Europäisches-Fernsehprogrammkontor GmbH
Wolfram Skowronnek, Angelika Schulze
Sonnenstr. 21 · D-80331 Munich
phone +49-89-55 87 60 · fax +49-89-55 87 61 88
www.telepool.de · email: skowronnek@telepool.de
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E ro t i c Ta l e s :
P O R N .C O M
Veteran film director Matty Bonkers, a Hollywood legend, arrives in Berlin for an honorary retrospective tribute.
While introducing his film Mockery, he receives a phone call from his producer lying in intensive care at a
hospital. Blau needs a favor for old times’ sake. Could Matty finish a porn movie before his legs get broken by
Tokyo Tony? Matty reluctantly agrees. On the set, he meets movie star and ex-cello player Inga – and the
experience is bizarre, spirited, and uplifting – a comédie humaine.
Bob Rafelson, born in New York City in 1933, is a compulsive drifter
and a Hollywood maverick. After graduating from Dartmouth College, he
started writing for television, adapting stage productions for Play of the
Week. With Bert Schneider and Steve Blauner, he formed BBS Productions,
the company which produced such hits as Easy Rider and The Last
Picture Show. Rafelson made his directorial debut with Head (1968), a
rock film featuring the Monkees. Two years later, he made Five Easy
Pieces (1970), which won him the Best Director Award from the New York
Film Critics. His other films include: The King of Marvin Gardens
(1972), Stay Hungry (1977), The Postman Always Rings Twice
(1981), Black Widow (1986), Mountains of the Moon (1990),
Man Trouble (1991), Blood and Wine (1996) and Poodle
Springs (1998). The sequel to Wet (1994), a classic in the Erotic Tales
series, PORN.COM features Rafelson in his first major acting role.
Fabienne Babe (photo © ZIEGLER FILM GmbH & Co. KG)
Genre Erotic Category Short film Year of
Production 2001 Director Bob Rafelson
Screenplay Bob Rafelson Directors of
Photography Bernd Löhr, Frank Amann Editor
Dirk Grau Music by Peter Rafelson Production
Design Stephan Grebe Producer Regina Ziegler
Production Company Ziegler Film GmbH & Co
KG, Berlin, in co-production with WDR, Cologne
Principal Cast Fabienne Babe, Bob Rafelson, Trevor
Griffiths, Andreas Schmidt, Thomas Morris, Roxana
Sun and others Length 28 min Format Digital video
Blow Up 35 mm, color, 1:1.85 Original Version
English Sound Technology Dolby SR
Verkehrsinsel
E ro t i c Ta l e s :
W H Y D O N ’ T W E D O I T I N T H E ROA D ?
Verkehrsinsel – as in ”Traffic Island“ – as in ”Middle of the Road“ – as in Why Don’t We Do It in the Road?
Shot on Potsdamer Platz, the busiest corner in New Berlin, this is where a young couple decide to exercise their
sexual fantasies by ”doing it“ on some public place, just beyond the pale of voyeurs and eavesdroppers.
Genre Erotic Category Short film Year of
Production 2000 Director Eoin Moore Screenplay
Eoin Moore Directors of Photography Bernd Löhr,
Frank Amann Editors Eoin Moore, Dirk Grau Music
by Kai-Uwe Kohlschmidt, Warner Poland Production
Design Stephan Grebe Producer Tanja Ziegler
Production Company Ziegler Film GmbH & Co KG,
Berlin, in co-production with WDR, Cologne Principal
Cast Isabelle Stoffel, Erdal Yildiz, Thomas Morris, Kirsten
Block Length 28 min Format Digital video Blow Up
35 mm, color, 1:1.85 Original Version German
Subtitled Version English International Festival
Screenings Saarbrücken 2001 Sound Technology
Dolby SR
Eoin Moore, born in 1968 in Dublin, Ireland, moved to Berlin in
1988, where he worked as a soundman and freelance cameraman.
He studied at the German Film & Television Academy Berlin (dffb),
graduating with the film Break Even (Plus Minus Null, 1997)
– winner of the Director’s Promotional Award at Munich 1998 and the
Jury Special Prize at the Torino International Festival of Young
Cinema 1998. His other films include: So oder so (short, 1992),
Child of Light (documentary, 1992), Digital Video Ballet
(short, 1993), Driver (short, 1993), Loops of Infinity (short,
1994), Der Duft des Mannes (short, 1994), Storm Rising
(short, 1995) and 9 1/2 Minuten (short, 1996), Trance (1996)
and Conamara (2000). Moore also received the Promotional
Award at Saarbrücken 1999.
World Sales:
Atlas International Film GmbH
Dieter Menz, Stefan Menz, Christl Blum
Rumfordstr. 29-31 · D-80469 Munich
phone +49-89-2 10 97 50 · fax +49-89-22 43 32
www.erotictales.de · www.atlasfilm.com · email: mail@atlasfilm.com
46
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Das Experiment
TH E EXPE RI M E NT
When former journalist Tarek Fahd, who presently drives a cab in the German town of Cologne,
stumbles upon a newspaper ad looking for volunteers for a psychological experiment, he convinces
his former boss to commission him to report undercover about the experiment, which seems to be
partly funded by the army. Just before Tarek enters the experiment and agrees to live in a mock
prison for two weeks, waiving his civil rights, his taxi is hit one night by the car of a young and
beautiful woman. Dora has just lost her father, and she and Tarek spend a night together. But the
next morning Dora has vanished and Tarek starts his “term” in the “prison” that has been built into
the cellar of the university. In the beginning, everyone, “guards” and “prisoners” alike, take it as a
game. But when Tarek, who records the proceedings with a miniature camera hidden in his glasses,
starts to provoke the “guards”, the situation begins to get out of hand. But the psychologists, who
keep a 24-hour surveillance on the experiment, decide not to intervene.
Christian Berkel, Moritz Bleibtreu (photo © Senator Film)
An unimaginable nightmare has begun. And the experiment turns into a matter of life and death…
Genre Drama, Psycho-Thriller Category Feature Film
Cinema Year of Production 2000 Director Oliver
Hirschbiegel Screenplay Mario Giordano, Christoph
Darnstädt, Don Bohlinger Director of Photography
Rainer Klausmann Editor Hans Funck Music by Alexander
van Bubenheim Production Design Uli Hanisch, Andrea
Kessler Producers Norbert Preuss, Marc Conrad, Fritz
Wildfeuer Production Companies Fanes Film, Munich,
Typhoon Film, Hürth, in co-production with Senator Film,
Berlin, SevenPictures, Munich Principal Cast Moritz
Bleibtreu, Maren Eggert, Christian Berkel, Justus von Dohnànyi,
Oliver Stokowski, Timo Dierkes, Antoine Monot, Jr., Andrea
Sawatzki, Edgar Selge Casting An Dorthe Braker Special
Effects Arri Digital Length 120 min, 3283 m Format 35
mm, color, 1:1.85 Original Version German Subtitled
Versions English, French Sound Technology Dolby
Digital International Awards Bavarian Film Prize 2001 for
Best Direction, Best Cinematography, Best Screenplay With
backing from Filmstiftung NRW, Filmförderungsanstalt
(FFA), FilmFernsehFonds Bayern, BKM German
Distributor Senator Film Verleih GmbH, Berlin
Oliver Hirschbiegel had his television debut as
author and director of the TV movie Das Go!
Projekt (1986). In 1991, Mörderische
Entscheidung – Umschalten erwünscht
followed. He has won numerous awards for his
television work: his crime story episode Kinderspiel (1992) from the Tatort series won the
prestigious Adolf Grimme Award. He also won a
Grimme Special Prize and a Golden Lion for
Trickser (TV, 1996) and Das Urteil (TV,
1997), both of which received an Emmy nomination for Best Foreign TV Drama. He received the
Bavarian Television Prize 1999 for Todfeinde
(TV, 1998). He has directed 14 episodes of the
TV series Kommissar Rex (1993), the crime story
Ostwärts (1994), also from the Tatort series, and
the TV movie Rex – die frühen Jahre (1997).
The Experiment is his feature film debut.
World Sales:
Senator International Inc. · Joe Drake
8666 Wilshire Blvd., 2nd Floor · USA - Beverly Hills, California 90211
phone +1-3 10-3 60 14 41 · fax +1-3 10-3 60 14 47
www.senatorfilm.de · email: jd@senatorentertainment.com
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Ein göttlicher Job
A G O D DA M N J O B
New Year’s Eve 2000. Jonathan’s exhausting 1000-year term as a demi-god is finally over. The blissful
paradise of the gods awaits! Actually, things aren’t quite so cool; in fact Jonathan is scared shitless because in a couple of hours he’s got to report to Divine Central where his boss, the Over-Goddess
Yolanda, will grill him on his final report. Then he’ll be screwed, because she’ll quickly realize what a
mess this lazy, always-wasted demi-god has left behind. Even worse, Jonathan completely spaced out
finding himself a replacement, which could mean his having to endure 10 more centuries of this lowly,
partial-god crap. He winds up choosing Niklas, of all people, whose only relationship to eternity is with
the undying love he’s recently been hung up with. Facing the ultimate drag of yet another thousand
wasted years, Jonathan gathers all of his remaining wits to execute his plan. It’s going down on New
Year’s Eve, a night that Niklas will remember for a very, very long time.
Thierry van Werveke, Oliver Korittke (photo © Buena Vista International)
A Goddamn Job takes nobody seriously and leaves nothing sacred. God trips around in threadbare
jogging pants, a guardian angel with blazing blue hair is charged with keeping “true love” true, and a
clueless comic artist named Niklas finds out that there’s more than one way to get to heaven.
Genre Comedy Category Feature Film Cinema Year of Production 2000 Director Thorsten Wettcke Screenplay Thorsten
Wettcke Director of Photography Martin Ruhe Editors Brigitta
Paech, Camille Younan, Hansjörg Weißbrich Music by Jule Maas,
Nikolaus Sieveking, Peter Hinderthür Production Design Jürgen
Schnell, Martin Gnade Producers Ralph Schwingel, Stefan Schubert,
Eberhard Scharfenberg Production Companies Wüste
Filmproduktion, Hamburg, VCC Perfect Pictures, Hamburg, in co-production with NDR, Hamburg, Buena Vista International Filmproduction,
Munich, Wüste Film West, Cologne Principal Cast Oliver Korittke,
Heike Makatsch, Thierry van Werveke, Anna Loos, Tamara Simunovic,
Oscar Ortega Sánchez, Martin Semmelrogge, Detlef Bothe Casting
Ingeborg Molitoris Special Effects Peter Wiemker Studio Shooting
Studio Bendestorf Length 83 min, 2271 m Format 35 mm, color,
1:1.85 Original Version German Subtitled Version English
Sound Technology Dolby Digital SR With backing from
FilmFörderung Hamburg, Kuratorium junger deutscher Film, Filmbüro
NW, Filmförderungsanstalt (FFA) German Distributor Buena Vista
International (Germany) GmbH, Munich
Thorsten Wettcke was born in 1974.
His film career began quite early, with his
first short films dating back to 1993. In
1995, he broke off his film studies in Mainz
to become a scriptwriter for Wüste
Filmproduktion in Hamburg. Since then,
he has directed many, and acted in quite
a few, of his own films, including:
Nightmare on Danziger Street
(short, 1993), Fröhlicher Suizid
(short, 1994), Gotthold und Gotthilf
(short, 1994), Degeneration X (1995)
which received several prizes and considerable recognition, Digital Dope,
Knut, and Anschlag (shorts, 1996)
and Die Rosenfalle (short, 1997).
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World Sales:
Bavaria Film International · Dept. of Bavaria Media GmbH
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Michael Weber, Thorsten Schaumann
phone +49-89-64 99 26 86 · fax +49-89-64 99 37 20
www.bavaria-film-international.de · email: Bavaria.International@bavaria-film.de
48
Heidi M.
Heidi M. is in her late forties and has a small store in the pulsating center of
Berlin. She goes out in the evenings with her friend Jacqui, but when she is
unexpectedly confronted with romantic love, old wounds are opened. At first,
she is hesitant to open up to a new man. But then she takes the chance to lead
her life in a new direction …
Katrin Saß (photo © X Verleih)
Heidi M. is an extraordinary portrait of a woman, with a mix of melodrama,
social observation and road movie elements.
Genre Art, Drama, Love Story, Women’s Film
Category Feature Film Cinema Year of Production 2001 Director Michael Klier Screenplay
Karin Åström Director of Photography Sophie
Maintigneux Editor Bettina Böhler Music by Robert
Matt Production Design Anina Diener Producers
Manuela Stehr, Stefan Arndt Production Company
X Filme Creative Pool, Berlin, in co-production with
WDR, Cologne Principal Cast Katrin Saß, Dominique
Horwitz, Franziska Troegner, Ulrike Krumbiegel, Julia
Hummer, Kurt Naumann Casting Simone Bär
Length 90 min, 2616 m Format 35 mm, color, 1:1.85
Original Version German Subtitled Version
English Sound Technology Dolby SR
German Distributor X Verleih AG, Berlin
Michael Klier, born in 1943 in Karlovy Vary,
studied Philosophy and History. Before he
began making films himself, he acted in several
films by Harun Farocki and Rudolf Thome,
among others. His first film Der Riese
(1983), a video documentary about video
surveillance, won several international prizes.
Thereafter, he developed his artistic signature
with films such as Überall ist es besser,
wo wir nicht sind (1989) and Ostkreuz
(1991). His film Out of America (1995)
portrayed a group of former GIs who stayed in
Germany after the rest of the troops returned
home. He has also directed a series of film
portraits about François Truffaut, Jean-Luc
Godard, Henri Alekan, Juliette Binoche and
others.
World Sales:
phone +49-89-64 99 26 86 · fax +49-89-64 99 37 20
49
In den Tag hinein
T H E DAY S B E T W E E N
Sabine Timoteo, Hiroki Mano (photo © November Film)
Lynn lives with her brother in Berlin. There she enjoys the advantages of family life, without
feeling involved in it. She is living without any plan, waiting for whatever the days may bring.
During her working hours in a café, she is drowsy. When she earns some money as a discodancer, she looks ecstatic. She is impulsive and irrational, sometimes sulky like a child,
then overtly responsive to the city’s atmosphere. As her character sways between moods,
Lynn’s sex life also sways undecidedly between her boyfriend David, a disciplined professional
swimmer who doesn’t share her sense of freedom, and Koji, a Japanese first-year student of
German, who shares her sensuality, but not her language.
Genre Drama, Love Story Category Feature Film
Cinema Year of Production 2001 Director Maria
Speth Screenplay Maria Speth Director of
Photography Reinhold Vorschneider Editor Dietmar
Kraus Production Design Heike Wolf Producers
Brigit Mulders, Klaus Salge Production Company
November Film, Berlin, in co-production with ZDF, Mainz,
“Konrad Wolf ” Academy of Film & Television, Babelsberg
Principal Cast Sabine Timoteo, Hiroki Mano, Florian
Müller-Mohrungen, Sabina Riedel, Nicole Marischka,
Guntram Brattia Length 120 min, 3283 m Format
35 mm, color, 1:1.85 Original Version German
Subtitled Version English Sound Technology
Dolby SR International Festival Screenings
Ophüls-Festival Saarbrücken 2001 (in competition),
Rotterdam 2001 (in competition), Créteil 2001 (in
competition) International Awards VPRO Tiger Award,
Rotterdam 2001, Grand Prix du Jury, Créteil, 2001 With
backing from Filmboard Berlin-Brandenburg
World Sales: please contact
November Film · Brigit Mulders
Fritschestr. 79 · D-10585 Berlin
phone +49-30-34 70 26 56 · fax +49-30-34 70 26 57
email: novemberfilm@agdok.de
50
Maria Speth, born in 1967, studied at the
”Konrad Wolf“ Academy of Film and Television
in Babelsberg. She attended acting lessons with
Janina Szarek and has worked since 1991 as an
editing and directing assistant on various films
and TV programs. Her films include:
Mittwoch (short, 1995), Knastmutter
(documentary, 1996), and Barfuß (short,
1999) – winner of the 3sat Award at Oberhausen 1999. the days between is her
feature debut.
It Happened in Havana
Peter Lohmyer, Ketty de la Iglesia (photo © ICAIC/Kinowelt)
”Playing Swede“ is slang in Cuba for pretending not to know or playing the innocent one. And
the German crook Björn is quite good at it. He goes incognito in the Cuban metropole as a
Swedish professor of literature in order to dart the European police. Of all places, he finds an
adoptive family in a retired policeman’s household. And on top of that, he falls in love with
the daughter. But this doesn’t prevent him from going about his criminal ways. The local street
gangsters suffer most of all, as Björn takes away their ”work“. When the police fail to catch
him, Havana’s underground world takes it upon itself to hunt down the competition.
Genre Comedy Category Feature Film Cinema Year of
Production 2000/01 Director Daniel Díaz Torres
Screenplay Eduardo del Llano Director of Photography Raul Perez Ureta Editor Guillermo S. Maldonado
Music by Edesio Alejandro, Gerardo Garcia Production
Design Evelio Delgado Producers Camilo Vives, Rainer
Kölmel, Angel Amigo Production Company ICAIC,
Havana, in co-production with Kinowelt Filmproduktion,
Munich, in association with IGELDO KOMUNIKAZIOA, San
Sebastian, IMPALA, Madrid, with participation of TVE, Madrid,
Canal+, Paris Principal Cast Peter Lohmeyer, Enrique
Molina, Coralia Veloz, Ketty de la Iglesia, Mijail Mulkay, Rogelio
Blain Studio Shooting ICAIC, Havana Length 105 min,
2873 m Format 35 mm, color, 1:1.66 Original Version
Spanish Subtitled Versions English, German Sound
Technology Dolby Digital International Festival
Screenings Berlin 2001, Havana Film Festival New York &
Chicago 2001 International Awards Audience Award &
UPEC Cultural Circle Award, Havana 2000 German
Distributor Arthaus Filmverleih GmbH, Munich
Daniel Díaz Torres was born in 1948 in
Havana, Cuba and is one of the most eminent
directors in Cuba today. He studied Political
Science at the University of Havana and has
worked since 1968 at the Cuban film institute
ICAIC as a directing assistant, critic and instructor. He is also chief editor of the ICAIC’s cinematic weekly publication. He presented his first
film Jíbaro in 1985, but it was his third film
Alicia en el pueblo de maravillas (1991)
that brought him international recognition and
the DAAD Artist’s Program scholarship in
Berlin. Despite the political turbulence in
his homeland, he is the only director in Cuba
today who has been able to continue to direct
his own films without having to accept commercial or ideological concessions. A selection of
his films include: Libertad para Luis
Corvalán (1975), Otra mujer (1986) and
Little Tropikana (1997) among others.
World Sales:
Kinowelt World Sales · A Division of Kinowelt Lizenzverwertungs GmbH
Jochen Hesse
Schwere-Reiter-Str. 35/Geb 14 · D-80797 Munich
phone +49-89-30 79 66 · fax +49-89-3 07 96 70 67
www.kinowelt-world-sales.com · email: worldsales@kinowelt.de
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Kaliber Deluxe
B LO O DY W E E K E N D
Herbert Fritsch (photo © DOR FILM/Lukas Beck)
Dean dreams of being a successful author of thrillers and having lots of money, a beautiful woman
and a little house on an island in the South Pacific. But up to now, he has only made it as a property manager of a holiday camp in the mountains. He is not really committed, mixes up the
reservations, and hardly takes care of his duties. At a rather dull party, he meets Romy, an attractive psychology student. Quickly, they become very close and leave the boring party and go to one
of the holiday houses in the camp. Dean thinks that the house will be vacant for the coming days.
They spend the night together.
Ed Novak’s career as a gangster was abruptly ended by a terrible ”accident“, which confined him to
a wheel-chair. He now specializes in planning the raids, and his collaborators Toby, Alex and
Rochus carry out the work for him. The three men raid a betting office, not knowing that one of
the customers is the powerful gangster Honcek, who has manipulated a horse race and now wants
to place a high bet for this race. Suddenly, the police arrive, a gun-battle ensues and, in the hail of
bullets, Toby jumps into the car with Alex, leaving Rochus behind.
Once again, Dean has overslept. When he makes up, Romy is already gone. Instead, Ed, Toby and
Alex are sitting in the remote house in the mountains – an ideal place to escape. Unfortunately,
they are not only being chased by the police, but also by Honcek. And there is one thing that
Dean does not yet know: Romy has given Rochus, who was hitchhiking, a lift in her car.
Genre Thriller Category Feature Film Cinema Year of Production 1999 Director Thomas Roth Screenplay Thomas
Roth, Robert Treichler, Martin Daniel Director of Photography Helmut Pirnat Editor Evi Romen Music by Lothar
Scherpe Production Design Christoph Kanter Producer
Danny Krausz Production Company DOR FILM West, Munich,
in co-production with DOR FILM, Vienna Principal Cast Marek
Harloff, Jürgen Hentsch, Annelise Hesme, Dieter Pfaff, Jürgen
Tarrach, Herbert Fritsch Casting Barbara Vögel Special Effects
Matthias Brandhofer Length 107 min, 2928 m Format Super 35
mm, color, cs Original Version German Subtitled Version
English Sound Technology Dolby Digital SRD International
Festival Screenings Ghent 2000 With backing from
Austrian Film Institute, Wiener Film Fond, ORF (Film-Fernsehabkommen), FilmFernsehFonds Bayern German Distributor
Kinowelt Filmverleih GmbH, Munich
World Sales:
phone +49-89-2 10 97 50 · fax +49-89-22 43 32
www.atlasfilm.com · email: mail@atlasfilm.com
52
Thomas Roth was born in 1965 in Graz,
Austria. From 1985-1994, he worked at
the Styrian studios of the Austrian Broadcasting Station (ORF). Today, he is a freelance
scriptwriter and director and lives in Vienna.
In addition to documentaries and music
videos, his works include: Sudden Death
(1993), Eine kleine Erfrischung (1994),
Schnellschuss (TV, 1995), The Lake (TV,
1996) based on the novel by Gerhard Roth,
Blutrausch (1997) his first feature film,
based on the novel by Günther Brödl, and
Im Kreuzfeuer (TV, 1998).
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Konzert im Freien
A P L AC E I N B E R L I N
Günther ”Baby“ Sommer, Dietmar Diesner (photo © 2001 Ö Film)
Like a fossil, the ”Marx-Engels-Forum,“ a large, ambitious monument project from the former
German Democratic Republic (GDR), adorns a central and historical spot in the middle of Berlin.
Jürgen Böttcher’s experimental documentary incorporates his own footage from 1981–1986
about the creation of this monument into new material, shot exclusively on location at the MarxEngels-Forum. A vast collage with numerous levels: documentary shots of the artists involved at
the time, and above all, intense observations of today’s visitors to this square’s anachronistic
monument ensemble. Groups, families, couples, tourists from around the world often have their
pictures taken in front of the stiff, stoic figures of Marx and Engels.
Percussionist Günther ”Baby“ Sommer and saxophonist Dietmar Diesner are the musical guides
through the film, giving it structure, propelling the different kinds of material – partly brittle,
strange and even grotesque – to dance. A confrontation with history and art in Berlin’s new center.
Genre History Category Documentary
Cinema Year of Production 2001
Director Jürgen Böttcher Screenplay
Jürgen Böttcher Directors of Photography T. Plenert, L. Lenski, L. Böttcher,
G. Becher Editor Gudrun Steinbrück
Music by Günther ”Baby“ Sommer,
Dietmar Diesner Producers Frank
Löprich, Katrin Schlösser Production
Company Ö Filmproduktion, Berlin, in coproduction with WDR, Cologne Principal
Cast Günther ”Baby“ Sommer, Dietmar
Diesner Length 88 min, 2408 m Format
Digi Beta Blow up 35 mm, color, 1:1.65
Original Version German Subtitled
Versions English, French Sound
Technology Dolby SR International
Festival Screenings Berlin 2001
(Forum), Visions du Réel Nyon 2001 With
backing from BKM, Mitteldeutsche
Medienförderung German Distributor
Basis-Film-Verleih GmbH, Berlin
Jürgen Böttcher, also known under his pseudonym “Strawalde”,
was born in 1931 and grew up in a small village in the Oberlausitz.
His childhood being overshadowed by the terror of the Nazi regime,
he had a great desire for social change, and joined the Communist
Party at the age of 17. He studied Painting at the Art Academy in
Dresden. However, as a result of rising ideological turbulence, which
led to his being blacklisted from the Association of Fine Arts, he
was legally prohibited to continue his work as a painter. He then
registered to study Film Direction at the “Konrad Wolf ” Academy
for Film & Television in Potsdam in 1955. It wasn’t until the 1980’s
however that his original work as a painter was finally recognized.
With more than 30 films, he has attained cult status among cineasts
and has become a moral and aesthetic authority for his East German
film colleagues at DEFA, the state-owned film studios of the former
GDR. In 1991, he was awarded the Silver Ribbon for his film work,
and is also honored with a portrait in the German Parliament. His
films include: Ofenbauer (short, 1962) – winner of the Silver Dove
Award, Jahrgang 45 (1965), Martha (1978), Die Frau am
Klavichord (short, 1981), Rangierer (short, 1984), In
Georgien (1987), Die Mauer (1990) and many more. Today,
he lives and works again as a freelance painter in Berlin-Karlshorst.
Ö Filmproduktion Löprich & Schlösser GmbH · Frank Löprich, Katrin Schlösser
Lychener Str. 82 · D-10437 Berlin
phone +49-30-4 46 72 60 · fax +49-30-44 67 26 26
email: mail@oefilm.de
53
Lale Andersen – Die Stimme
der Lili Marleen
L A L E A N D E R S E N – T H E VO I C E O F L I L I M A R L E E N
In the summer of 1999, as the German KFOR
soldiers in Kosovo settled in their barracks,
they turned on the radio to the program
“Radio Prizren”. Every evening, the station
broadcasted the three-hour program ”Radio
Andernach“ from the German army’s radio
station ”Soldiers for Soldiers“. News from back
home and all the current hits. One evening, a
smoky voice from the past came through the
radio: Lale Andersen sang ”Lili Marleen“.
Lale Andersen (photo © Lichtfilm)
The film portrays more than just the life story
of the singer, it traces the phenomenon of
”Lili Marleen“ and the resulting legend. What
was the mix of talent, luck, Zeitgeist and
decline that made Lale Andersen worldfamous with one song? What is the source of
the fascination with the song that, even today,
moves the hearts of soldiers? Legend and
reality – for behind the singer’s glowing star
façade hid a person full of contradiction and
inner tragedy.
Genre Biopic Category Documentary Cinema
Year of Production 2001 Director Irene
Langemann Screenplay Irene Langemann
Directors of Photography Otmar Schmid,
Peter Mucko Editor Inge Schneider Producer
Wolfgang Bergmann Production Company
Lichtfilm, Cologne Principal Cast Norbert
Schultze, Litta Magnus, Michael & Björn Wilke
Length 90 min, 2462 m Format Digi Beta
Blow up 35 mm, b/w + color, 1:1.33 Original
Version German/English/Russian Dubbed
Version English Subtitled Version English
Sound Technology Mono With backing
from Filmbüro NW
Irene Langemann was born in the Omsk region of the
Soviet Union in 1959. She studied Acting and Germanics at the
Tcepkin Theater Academy in Moscow. From 1980-1990, she
worked as an actress, director and theater writer in Moscow.
In 1983, she began moderating and directing for Russian television. In 1986, she became director and scene editor at the
Nasch Theater in Moscow. She moved to Germany in 1990
and was an editor at Deutsche Welle TV in Cologne until
1997. Since 1997, she has been working as a freelance filmmaker. Her films include: Nirgendwo verwurzelt (1993),
Die Götter bitte ich um eine Änderung (1994),
Imperium der Träume (1995/96) – a TV-documentary
about the Bolshoi Ballet, Auf Wiedersehen in Berlin
(1996/97), Zwischen hier und dort (1997) – a TVdocumentary about the writer Giwi Margwelaschwili, Das
Ende einer Odyssee (1998) – a documentary about the
pianist Rudolf Kehrer, Klasse(n) Klänge (1999), Fit für
Leben und Arbeit (2000) and Rußlands Wunderkinder (1998-2000).
Lichtfilm · Wolfgang Bergmann
Kasparstr. 26 · D-50670 Cologne
phone +49-2 21-9 72 65 17 · fax +49-2 21-9 72 65 18
www.Lichtfilm.de · email: Wolfberg@lichtfilm.de
54
Legion of the Dead
Two guys, William and his side-kick Luke, have just started their trip through the beautiful California
desert when they’re kidnapped by the notorious psycho Mike, the Kern River Killer. Securing their
escape through hilarious means and the aid of an old friend, they soon stumble into a small
desert town where, unbeknownst to them, a mysterious tall blond man and his sadistic henchmen
are killing people to create a ”legion“. Here’s where it gets tricky. William falls in love with Geena,
the beautiful waitress at the local restaurant and Luke spins out of control hormonally. The restaurant
is suddenly attacked by the legion and the tall blond man gives an ultimatum to hand over Geena
within two hours or he will personally come in to get her.
Michael Carr, Joe Cook, Russell Friedenberg (© X-VISION FILMPRODUCTION)
What is the mysterious secret that Geena and the blond man share? The clock ticks as the ultimatum
draws near. The fight against evil has just begun…
Genre Action/Adventure, Fantasy, Thriller Category
Feature Film Cinema Year of Production 2000 Director
Olaf Ittenbach Screenplay Olaf Ittenbach Director of
Photography Holger Diener Editors Thomas Bachmann,
Christian Lonk Music by Ralph Wengenmayr, Jaro
Messerschmidt Production Design Michael J. Poettinger
Producers Michael J. Poettinger, Claudia Quirchmayr
Production Company X-VISION FILMPRODUCTION,
Aying-Munich, in co-production with Modern Graphics, Rastatt,
FRAME WERK, Munich Principal Cast Michael Carr, Russel
Friedenberg, Kimberly Liebe, Matthias Hues, Hank Stone,
Harvey J. Alperin Casting Klaus J. Koch, Claudia Quirchmayr
Special Effects DAS WERK, Munich, Olaf Ittenbach, PITT
EFFECTS, Munich, Wayne Beauchamp, Los Angeles Studio
Shooting Kotter Studios, Hoehenkirchen Length 94 min,
2572 m Format 35 mm, color, 1:1.85 Original Version
English Sound Technology Dolby Digital 5.1 International Festival Screenings Stockholm 2000,
International Fantasy Film Festival Brussels 2001 (in competition), Cinénygma Luxembourg 2001 (in competition)
World Sales:
phone +49-89-2 10 97 50 · fax +49-89-22 43 32
www.atlasfilm.com · email: mail@atlasfilm.com
Olaf Ittenbach, born in 1969, grew up in
Fuerstenfeldbruck, just outside of Munich. At
the age of 13, he started taking an interest in
make-up and special effects. He began his first
film Black Past in his spare time – a project
that later (1998) turned into a burning interest
and passion for film. His other films are
Burning Moon (1992) and Premutos
(1997).
M
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55
Mädchen Mädchen
G I R L S O N TO P
Felicitas Woll, Diana Amft, Karoline Herfurth (photo © OLGA-FILM)
Girls on Top is a romantic, coming-of-age comedy. On her eighteenth birthday, Inken and her
friends, Victoria and Lena, watch a film from the seventies about hippie women talking about
their liberation and their enormous sexual satisfaction. From that moment on, the three girls
are on a mission. They are convinced that their first orgasm will bring them success with their
volleyball team, make them pass their final exams and lead them to the sunny side of life. To
achieve all that, Inken has to get rid of her macho boyfriend, Victoria has to realize that it’s
quality instead of quantity that matters, and shy Lena has to prepare herself to lose her
virginity. In the end, the three girls learn to trust their own feelings instead of following forced
goals and they all find true love.
Genre Comedy Category Feature Film Cinema
Year of Production 2001 Director Dennis Gansel
Screenplay Maggie Peren, Christian Zübert Director
of Photography Axel Sand Editor Anne Loewer
Music by Tobias Neumann, Martin Probst Production
Design Ingrid Henn Producers Molly v. Fürstenberg,
Harald Kügler, Viola Jäger, Tina Fauvet, Matthias Emcke,
Thomas Augsberger Production Company OLGAFILM, Munich, in association with Key Entertainment, Los
Angeles Principal Cast Diana Amft, Felicitas Woll,
Karoline Herfurth, Max Riemelt, Martin Reinhold, Andreas
Christ, Ulrike Kriener, Florian Lukas Casting Nessie
Nesslauer Length 90 min, 2462 m Format 35 mm,
color, 1:1.85 Original Version German Subtitled
Version English Sound Technology Dolby Digital
With backing from FilmFernsehFonds Bayern,
Bayerischer Bankenfonds, Filmförderungsanstalt (FFA)
German Distributor Constantin Film, Munich
Dennis Gansel, born in 1973 in Hannover,
directed his first films during his studies at the
Academy of Television & Film (HFF) in Munich.
His films include: The Wrong Trip (short,
1995), Living Dead (1996) – a short film
with Iris Berben, Im Auftrag des Herrn
(short, 1997), and The Phantom (1999) –
a TV movie for ProSieben with Jürgen Vogel
and winner of the Adolf-Grimme Award, Jupiter
Award and the 3sat Audience Award.
World Sales:
phone +49-89-64 99 26 86 · fax +49-89-64 99 37 20
56
Milch und Honig aus Rotfront
The idea for Milk and Honey from Rotfront
was born in May 1995 when a group of
German filmmakers traveled through the
central Asian republics of Kirghizia and
Kazakhstan to present German film
productions. An eight-hour flight away from
Germany at the foot of the Himalayas, they
discovered a village with the official name of
Rotfront, a left-over from the Stalin period.
The pronunciation is German – both in
Kirghiz and Russian. The people living there
speak an archaic German. But that is not the
only reason why the visitor gets the impression of traveling back to the beginning of the
20th century. It’s also the skills and methods
applied to the tasks of everyday life. Half of
the inhabitants are of German origin, their
ancestors having been Mennonites, a German
religious minority. While capturing moments
of people’s lives, the image arises of a different
German culture: the keeping of traditions and
adapting to a new culture simultaneously.
Genre Family, History Category Documentary
Cinema Year of Production 2000 Director
Hans-Erich Viet Screenplay Hans-Erich Viet
Director of Photography Thomas Keller
Editor Anne Fabini Producer Herbert Schwering
Production Company Schwering & Viet
Filmproduktion, Cologne, in co-production with
ZDF, Mainz Principal Cast Abraham Falk, Rudolf
Koop, Andrej Wiebe Length 116 min, 3276 m
Format 35 mm, b&w, 1:1.66 Original Version
German/Russian/Kirghiz Subtitled Version
English Sound Technology Dolby SR International Festival Screenings Berlin 2001
(Forum), International Documentary Film Festival
Munich 2001 With backing from Filmbüro NW,
Kulturelle Filmförderung Niedersachsen
Scene from ”Milk and Honey from Rotfront“ (photo © Schwering + Viet Filmproduktion)
M I L K A N D H O N EY F RO M ROT F RO N T
Hans-Erich Viet was born in 1953 in East Friesland.
He studied Philosophy, Politics and Sociology of Art in
Berlin and Belfast, graduating as a political scientist. He is
also a graduate of the German Film & Television
Academy (dffb) in Berlin and received a scholarship for
the Berlin Scriptwriting Workshop. He has worked in
various capacities including in a chemistry lab in East
Friesland, as a social worker in England and Northern
Ireland, and as a forest worker. His films include:
Karniggels (1991) – co-directed with Detlev Buck,
Schnaps im Wasserkessel (documentary, 1991),
Frankie, Jonny und die anderen (1993), Luggi
L. ist nicht zu fassen (documentary, 1995), Die
rote Hand von Ulster (documentary, 1996/97),
Geiselfahrt ins Paradies (1997), Schlange auf
dem Altar (1998) as well as several episodes of the
TV series Polizeiruf 110 (1999-2000).
Schwering & Viet Filmproduktion · Herbert Schwering
Alter Markt 36-42 · D-50667 Cologne
phone +49-2 21-32 20 53 · fax +49-2 21-32 20 54
email: iconfilm@t-online.de
57
Der Mistkerl
T H E B LO O DY N U I SA N C E
Pauline is a bright and energetic nine-year-old. And at times, incredibly stubborn. She and her
mother, Anna, have been on their own since her father took off for America years ago.
Pauline has never liked any of her mother’s boyfriends, so when Anna becomes romantically
involved with Pit, she keeps it a secret from her daughter. But Pauline finds out and Anna has
to promise never to lie to her again.
Ines Nieri, Louis Klamroth (photo © Telepool)
Pit, it turns out, is a confirmed bachelor who loves his freedom and wants no part of family
life. ’As much as it hurts him’, he ends their affair. Anna is devastated and Pauline swears
revenge. She is going to make this guy’s life hell. And, at first, she succeeds. But when she
finds out that her mother is still in love with Pit, Pauline makes another vow: Pit will learn to
love her and live happily ever after with her mom. Reforming him is not easy, but by the time
Pauline’s done with him, Pit asks Anna to become his wife. But Pauline’s troubles don’t end
there …
Genre Family Category Feature Film Cinema Year of
Production 2001 Director Andrea Katzenberger
Screenplay Andrea Katzenberger Director of
Photography Tore Vollan Editor Sylvia Genzmer
Music by Mario Schneider Production Design Zazie
Knepper Producer Dirk R. Düwel Production
Company Studio Hamburg, in co-production with ZDF,
Mainz, in cooperation with the Hamburger Filmwerkstatt
Principal Cast Ines Nieri, Louis Klamroth, Ingo Naujoks,
Anna Loos, Peter Lohmeyer Casting Esther Klostermann
Studio Shooting Studio Hamburg Length 90 min,
2462 m Format 35 mm, color, 1:1.66 Original
Version German Subtitled Version English Sound
Technology Stereo International Festival
Screenings Berlin 2001 (Children's Film Festival), Gera
2001, Kristiansand 2001, Giffoni 2001, Chicago 2001, Banff
2001, Tokyo 2001 With backing from FilmFörderung
Hamburg, Medienstiftung Hamburg
Andrea Katzenberger, born in 1962 in
Heidelberg, studied Germanics and Theater
Studies at the Free University in Berlin, Acting
at the Max-Reinhardt-Seminar in Vienna, and
Film Direction with Hark Bohm at the
University of Hamburg. She was engaged by
several theaters in Vienna, Frankfurt, Berlin and
Hamburg, and in 1988, was one of the founding
members of the ”Neue Berliner Volksbühnen“.
Her graduation film Anja, Bine und der
Totengräber (1998) won the ProSieben
Newcomer Award in 1998 and First Prize
at the Chicago International Children’s Film
Festival in 1999. Her other films include the
shorts: Neukölln: Ein Platz für Kinder
(1995), Stille Wasser (1995), Blindman
Blues (1996), and Gleislichter (1997).
World Sales:
phone +49-89-55 87 60 · fax +49-89-55 87 61 88
58
M
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Mondscheintarif
Gruschenka Stevens (photo © Hager Moss Film)
Saturday evening: Cora Hübsch recently slept with Daniel for the first time and is now
impatiently waiting for him to call her. That is the beginning of this story about love, sex
and everyday vanities and forms the basis for telling the story of the encounter between
Cora and Daniel in interlinked flashbacks and entertaining episodes. But, it also takes a
couple of ironic pot-shots at the complex and sometimes complicated mechanisms of
the relationships between women and men. Making use of a variety of narrative stylistic
devices, the story constantly drifts off into anecdotes told in loving, detailed fashion
about the frequently comical diversions and confusion inevitably accompanying two
people finding their way to one another. The main drift of the story is Cora waiting at
the telephone in vain. Cora experiences an emotional roller-coaster ride that finally
brings her to the insight that ”he“ is not going to call. Cora has coincidence to thank
for the fact that she ends up in the arms of her lover this evening as well as the insight
that all of the well-meaning tips, bits of advice and wisdom only stood in the way of her
finding the man of her dreams.
Genre Romantic Comedy Category Feature Film
Cinema Year of Production 2000/2001
Director Ralf Huettner Screenplay Ralf Huettner,
Silke Neumayer, Barbara Oslejek Director of
Photography Tommy Wildner Editor Horst Reiter
Music by Schallbau, Reamonn Production Design
Ingrid Buron Producers Kirsten Hager, Eric Moss,
Andreas Schneppe Production Company Hager
Moss Film, Munich, in co-production with Senator Film,
Berlin Principal Cast Gruschenka Stevens, Tim
Bergmann, Jasmin Tabatabai, Bettina Zimmermann
Casting An Dorthe Braker Length 90 min, 2462 m
Format Super 35 mm, color, 1:1.85 Original
Version German Subtitled Version French
Sound Technology Dolby SR With backing
from FilmFernsehFonds Bayern, Filmboard BerlinBrandenburg, Filmförderungsanstalt (FFA), German
Distributor Senator Film Verleih GmbH, Berlin
Ralf Huettner studied from 1981-1985 at the
Academy of Television & Film in Munich. In addition
to his work as a writer, he has worked on many
television and film productions as well as image films
and commercials for Die Goldene 1, Siemens,
Telekom, OBI, MediaMarkt, Home Jumper, Air Marin
and others. His films include: Das Mädchen mit
den Feuerzeugen (TV, 1987), Der Fluch
(1988), Babylon (1991), Texas – Doc Snyder
hält die Welt in Atem (1993), Voll
Normaaal (1994), the TV-series Um die
Dreißig (1994) – winner of the Telestar Award for
Best Script in 1996, Dealthline (Der kalte
Finger, 1995), Cologne’s Finest (Die
Musterknaben, 1996) and many more.
World Sales:
Peppermint GmbH · Michael Knobloch
Rauchstr. 9-11 · D-81679 Munich
phone +49-89-9 82 47 08 30 · fax +49-89-9 82 47 08 11
email: info@hager-moss.de
59
Muratti & Sarotti
M U R AT T I & SA ROT T I – H I S TO RY O F G E R M A N A N I M AT I O N
Scene from ”Muratti & Sarotti“ (photo © anigraf )
Using a variety of camera and graphic techniques, this unique animated documentary traces
the development of animation as an art – and commercial – form in Germany. The camera
roams through a surrealist archive, with animated file drawers that open to reveal the stories
and films of such artists as Hans Richter, the noted surrealist, and Walter Ruttmann, whose
Berlin, Symphony of a City, started the documentary ”city poem“ movement. Towering above
the rest of them is the brilliant Oskar Fischinger, whose marvelously animated musical shorts
influenced Norman McLaren, and inspired Walt Disney to make Fantasia. In a near encyclopedic approach, director Gockell finds the time to survey the accomplishments of lesserknown, but exceptional talents like Peter Sachs and Oskar Fischinger’s younger brother Hans.
Moving from the heady days of the Weimar Republic through the Nazi period and into the
post-war era with its divided German states, Muratti & Sarotti demonstrates that an art,
once envisioned, can survive any political regime.
Genre Art, History, Educational Category Animation/
Documentary Cinema Year of Production 2000
Director Gerd Gockell Screenplay Gerd Gockell,
Kirsten Winter, Susanne Höbermann Director of
Photography Thomas Bartels Editor Wolf-Ingo Römer
Music by Arthur Honegger, Hanns Eisler Production
Design Holger Jaquet, Ute Heuer, Susanne Höbermann
Producers Gerd Gockell, Kirsten Winter Production
Company anigraf, Hanover Studio Shooting anigraf,
Hanover Length 80 min, 2189 m Format 35 mm, color,
1:1.66 Original Version German/English Subtitled
Version English Sound Technology Dolby SR Stereo
International Festival Screenings World Film
Festival Montreal 2000, Hot Docs Toronto 2000, Ottawa
Animation Fest 2000, Hiroshima 2000 With backing
from Filmförderung NDR German Distributor
Edition Salzgeber, Berlin
Gerd Gockell, born in 1960 in Darmstadt,
studied Graphic Design and Film in Brunswick.
After working as a freelance animator for the
Hessische Rundfunk in Frankfurt, he moved to
London in 1988 and produced several animated
short films. Back in Hanover, he co-founded
anigraf-Filmproduktion in 1990. Since 1992, he
has been teaching Experimental Animation at
the Brunswick College of Fine Arts. In 2000, he
became a visiting professor in the Animation
Department at the Kassel Art College. His films
include: Crofton Road SE 5 (1990) – winner of the Main Prize and Film Critics' Prize at
the Oberhausen Short Film Festival 1990,
Busy Body (1991), Miles, So What
(1993), Tossing Pies (1995), and The
Innocents Abroad (1998). Muratti &
Sarotti is his first feature film.
anigraf · Gerd Gockell, Kirsten Winter
Bödekerstr. 92 · D-30161 Hanover
phone +49-5 11-66 01 65 · fax +49-5 11-66 73 27
www.muratti-und-sarotti.de · email: whats-her-name@t-online.de
60
Nachts im Park
Heike Makatsch, Heino Ferch (photo © Beta Film GmbH)
The brilliant heart surgeon Dr. Steffen Hennings watches his attractive female colleague Dr. Katharina
Lumis through the windows of her living room. Since the tragic death of his beloved wife in a car crash
he survived, Steffen has not been able to bring himself to do more than admire women from afar.
Hidden in the park that borders on Katharina’s back yard, Steffen is spellbound as she lights a cigarette
and slowly takes off her clothes. Then he slips quietly away, unaware of a dead woman’s body lying
only inches from where he just stood. The next day, police inspector Dremmler storms the hospital
and arrests Steffen while he is in the middle of surgery. While Steffen is being interrogated, the police
psychologist Dr. Rosenblum barges in and begins to grill the doctor with his hypothesis of how the
murder took place. When the irate Katharina also barges in, Steffen takes advantage of the ensuring
chaos and takes Rosenblum hostage, fleeing with him. Steffen tries to convince the psychologist of his
innocence, but Rosenblum is skeptical; the last time he trusted a suspected killer, one of his colleagues
paid for it with a debilitating injury. Pursued by the police as well as killers hired by the dead woman’s
fiancé, the two men struggle with their own inner ghosts as they set out to find the truth.
Genre Thriller Category Feature Film Cinema Year of
Production 2001 Director Uwe Janson Screenplay
Jens Urban Director of Photography Hagen Bogdanski
Editor Ingo Ehrlich Music by Oliver Biehler Production
Design Bertram Strauß Producers Thomas Springer,
Helmut G. Weber Production Company Tradewind
Pictures, Cologne, in co-production with Fama Film, Zurich,
Avrora Media, Berlin, MMC Independent, Cologne, Teleclub,
Zurich, SRG/SF DRS, Bern/Zurich Principal Cast Heino
Ferch, Heike Makatsch, Pasquale Aleardi Special Effects
Flash Art Studio Shooting MMC Studios, CologneOssendorf Length 90 min, 2462 m Format 35 mm,
color, cs Original Version German Sound Technology
Dolby Surround With backing from Filmstiftung NRW,
Mitteldeutsche Medienförderung, Filmförderungsanstalt (FFA)
German Distributor Highlight Film, Munich
Uwe Janson, born in 1959, began his career
with the short film Rastlos (1987). It was only
two years later that he directed the highly
acclaimed feature film Verfolgte Wege
(1989), which won a German Camera Award in
1990 and for which he received a Bavarian Film
Award in 1990 for Best Young Direction. From
1993 to 2000, he directed a series of TV
movies, among them To Run and To Die
(1994), The Therapist (1997), Rhapsody
in Blood (1998), Whisky Sour (2000)
and most recently Ms. Cupid (2001). Among
the other prizes he has garnered along the way
are a Director’s Promotional Prize at Munich 1989
and the Prix de Jeunesse at Locarno 1989.
World Sales:
Beta Film GmbH · Dirk Schürhoff
Robert-Buerkle-Str. 2 · D-85737 Ismaning
phone +49-89-99 56-21 34 / 27 19 · fax +49-89-99 56 27 03
www.betafilm.com · email: DScheurhoff@betafilm.com
61
Nancy und Frank
NA N CY A N D F R A N K : A M A N H AT TA N LOV E S TO RY
Hardy Krüger Jr., Frances Anderson (photo © WDR/Dominique Conway)
Adapted from the novel Beyond the Horizon by Hans Werner Kettenbach
(Diogenes-Verlag), Nancy and Frank is a romantic urban love story, with
road-movie elements, between the American student Nancy, financing her
studies as an escort-lady, and the German businessman Frank in the melting
pot of today’s New York.
Genre Comedy, Drama Category Feature Film
Wolf Gremm Screenplay Jonathan Brett, Wolf
Gremm Director of Photography Egon
Werdin Editor Karola Mittelstädt Set Design
Eduard Krajewski Producers Regina Ziegler,
Elke Ried (Ziegler Film Köln), Rainer Bienger
(Cinerenta) Production Companies Ziegler
Film Köln GmbH, Cologne, Cinerenta/Cinefrank,
Potsdam & Munich, Ziegler Film GmbH & Co KG,
Berlin, in co-production with WDR, Cologne
Principal Cast Hardy Krüger Jr., Frances
Anderson, Robert Wagner, Gottfried John, Jamie
Harris Length 93 min, 2544 m Format 35 mm,
color, 1:1.85 Original Version English
Dubbed Version German Sound Technology Dolby SR With backing from Filmstiftung
NRW, Filmförderungsanstalt (FFA) German
Distributor Warner Bros. Film GmbH,
Hamburg
Wolf Gremm, born in 1942 in Freiburg, has
collaborated closely with Regina Ziegler since his
debut film I Thought I Was Dead (1973). In
the 1970s, he directed such successful cinema hits
as The Brothers, Death or Freedom and
the Erich Kästner adaptation Fabian. In the
1980s, he directed After Midnight, No
Terraced House for Robin Hood, and the
science-fiction thriller Kamikaze (1989) with
Rainer Werner Fassbinder in the lead role. He has
also written and directed several tele-features and
TV series - in addition to such dramas and thrillers
as Appointment with Yesterday, I Want
to Live, Cliffs of Death, Californian
Quartet, Die Inca Connection, Angel’s
Sin, Only a Dead Man is a Good Man, and,
recently, A Vicious Couple.
World Sales:
Capitol Films · Sharon Harel
23 Queensdale Place · GB-London W11 4SQ
phone +44-20-74 71 60 00 · fax +44-20-74 71 60 12
email: films@capitolfilms.com
62
Palermo flüstert
PA L E R M O W H I S P E R S
Mimmo is a poet who learned to write while in exile. His father was a ”boss“ and, as a child,
Mimmo repeatedly witnessed violence and murder in Palermo. But he didn’t want to remain
silent. The only ”accomplice“ he had to his conscience was a blank sheet of paper, to which
he held firmly. When his family discovered his writings, his only choice was to either be killed
as a witness or sent away in exile. His father guaranteed his son’s silence to the ”organization“
– but Mimmo was not to return until his father’s death, twenty years later.
Mimmo Cuticchio (photo © Wolf Gaudlitz)
The re-encounter and reconciliation with his history-laden hometown – Palermo – ”before
which the sea stretches out like a carpet that leads to paradise and covers all the violence
with gentleness“ – is Mimmo’s last trip to this fascinating city and a breathtaking trip to the
world’s most exciting island.
Genre Action/Adventure, Art, Literature Category
Feature Film Cinema Year of Production 2001
Director Wolf Gaudlitz Screenplay Wolf Gaudlitz
Directors of Photography Gerardo Milsztein,
Matthias Fuchs, Carolin Dassel Editor Andre Bendocchi
Alves Music by Toti Basso Production Design
Roberto Lo Sciuto, Mimma Pinsino Producer Wolf
Gaudlitz Production Company Solofilm, Munich, in
cooperation with ZDF, Mainz, ARTE, Strasbourg, Cultural
Commission of the City of Palermo Principal Cast
Mimmo Cuticchio, Francesco Di Gangi, Simone Genovese,
Sergio Lo Verde, Giuseppe La Licata, Toti Palmo, Donatella
Febraro, Roberto Lo Sciuto, special guest Leoluca Orlando
Length 89 min, 2435 m Format 35 mm, color/b&w,
1:1.66 Original Version Italian Narrated Versions
English, French, German Subtitled Versions English,
French, German Sound Technology Dolby Digital SR
With backing from FilmFernsehFonds Bayern
German Distributor Solofilm, Munich
Solofilm · Wolf Gaudlitz
Blombergstr. 6 · D-81825 Munich
phone +49-89-40 35 95 · fax +49-89-49 63 11
www.carolath.de
Wolf Gaudlitz was born in Bavaria and spent his
childhood there, as well as in Palermo, Lisbon and
other parts of the world. He has worked in various
capacities, including as an actor, in Italy with Federico
Fellini, in Korea with Im Kwon-Taek, and in Germany
with Wolfgang Petersen and Michael Verhoeven,
among others, and has received several prizes and
awards. On the occasion of various retrospectives of
his films, the Süddeutsche Zeitung wrote: ”Gaudlitz
makes the kind of European cinema of which others
can only dream.“ His films include: Der Violincellist, Das Mosaik und Fasettenauge,
Fluch(t) aus dem Chaos, Winteranfang,
Aus einem deutschen Requiem (shorts,
1983), Motivsuche für ein Deutschlandportrait (TV, 1984), Ballata Ballaró (TV, 1985),
L’opéra oder Musik entsteht aus der
Stille (1986), Die Väter des Nardino (1989),
Blaue Wüste (1992), Gezählte Tage (1993),
Taxi Lisboa (1996), and Palermo schreit
nicht (TV, 1999). Palermo flüstert is his eighth
feature-length film.
63
Photographie und jenseits
P H OTO G R A P H Y A N D B EYO N D
Photography and beyond is a series of films dealing with the human accomplishments of
design: projects such as writings, drawings, photography, architecture and sculpture. The
three new films of the series are Sullivan’s Banks (Architecture as Autobiography – Louis
H. Sullivan 1856-1924), The Basis of Make-Up II (Writings and Drawings), Maillart’s
Bridges (Architecture as Autobiography – Robert Maillart 1872-1940).
Maillarts Brücken (photo © Pym Films 1995-2000)
A reverse visual process is analyzed here: sight as an expression, not an impression. The eye
as the interface between the brain and the outside word, the view as a composing power that
projects an idea or is brought to completion through film photography. From the writings,
drawings and studies of various architects’ works something indescribable is formed: an
expression in film about the objectification of mental thoughts.
Genre Art, Educational, History Category
Documentary Cinema Year of Production 1983 2000 Director Heinz Emigholz Screenplay Heinz
Emigholz Director of Photography Heinz
Emigholz Editor Heinz Emigholz Sound Design
Heiner Büld, Martin Langenbach, Stephan Konken
Producer Heinz Emigholz Production Company
Heinz Emigholz Filmproduktion, Berlin, in co-production with WDR, Cologne Length 38, 48, and 24 min,
3009 m Format 35 mm, color, 1:1.37 Sound
Technology Dolby SR Stereo International
Festival Screenings Berlin 2001 (Forum) With
backing from FilmFörderung Hamburg German
Distributor Pym Films GmbH, Berlin
Heinz Emigholz has worked since 1973 in
Germany and the USA as an independent filmmaker, artist, cinematographer, actor, author and
producer. He has had many exhibitions, retrospectives, as well as given lectures and released
publications. In 1978, he founded the Pym Films
production company. His films include: Schenec
Tady I,II and III (1973-75), Arrowplane
(1974), Tide (1974), Hotel (1976), Demon
(1977), Normalsatz (1981), The Basis of
Make-Up I (1984), Die Basis des MakeUp (1985), Die Wiese der Sachen (1987),
Der Zynische Körper (1990), and
Miscellanea I and II (2001).
World Sales:
Pym Films · Ueli Etter
Postfach 63 01 11 · D-10266 Berlin
phone +49-30-55 49 03 86 · fax +49-30-55 49 03 96
www.pym.de · email: sales@pym.de
64
So weit die Füße tragen
A S FA R A S M Y F E E T W I L L CA R RY M E
Irina Pantaeva, Bernhard Bettermann (photo © Cascadeur Film)
Never, ever, underestimate the sheer power of the human spirit and the force of will when
it is inspired by love. That's the message of As Far As My Feet Will Carry Me. Based on
Josef Martin Bauer’s novel, this true story is the incredible journey undertaken by the German
soldier Clemens Forell in his dramatic escape from a Siberian labor camp.
Set against the backdrop of a desolate and inhospitable landscape, beset by danger (from
both animals and humans), constantly battling the worst nature can throw at him, Forell makes
his way, step by step, kilometer by kilometer, towards Persia and the longed-for freedom.
Three years it takes him. Sometimes riding on trains, sometimes by boat, mostly on foot, he
covers more than 14,000 kilometers, knowing that every step brings him closer to his goal, but
never knowing if his next step will also be his last. In December 1952, eight years after he left
his family and was sent to fight on the Russian front in a war that was already lost, Forell was
finally reunited with his wife and children.
Genre Adventure, Drama Category Feature Film Cinema
Year of Production 2001 Director Hardy Martins
Screenplay Bernd Schwamm, Bastian Clevé, Hardy
Martins, based on the novel by J.M. Bauer Director of
Photography Pavel Lebeshev Editor Andreas Marschall
Music by Edward Artemyev Production Design Valentin
Gidulanov Producers Jimmy C. Gerum, Hardy Martins,
Roland Pellegrino, Bastian Clevé Production Company
Cascadeur Filmproduktion, Munich, in co-production with
CP Medien, Stuttgart, B&C Filmproduktion, Ludwigsburg
Principal Cast Bernhard Bettermann, Michael Mendl, Irina
Pantaeva, Anatoly Kotenyov, Iris Böhm, Andre Hennicke,
Hans Uwe Bauer Casting Heide Woicke Special Effects
Jens Döldissen Studio Shooting Belarus Filmstudio, Minsk
Length 158 min, 4323 m Format 35 mm, color, cs
Original Version German/Russian Subtitled Versions
English, French Sound Technology Dolby Digital With
backing from Mitteldeutsche Medienförderung,
Filmförderungsanstalt (FFA)
Hardy Martins, born in 1963 in Baisingen/
Baden-Württemberg, trained for two years at
the International Stunt Association in Los
Angeles and was also taught by Jean Claude
Zeferini in Paris for a year. He has worked as
a stuntman and stunt coordinator on such
productions as Die Katze (1986), Der Sommer
des Falken (1987), Dr. M (1990), Manta –
der Film (1990), Go Trabbi Go (1991), In
weiter Ferne, so nah! (1992) and Die Sieger
(1993). In 1996, he founded Cascadeur
Filmproduction and, in 1997, took on the
role of producer, director and lead actor for
the film Cascadeur – The Amber
Chamber (1998).
Cascadeur Filmproduktion GmbH · Jimmy C. Gerum
Sendlinger Str. 17 · D-80331 Munich
phone +49-89-2 36 69 00 · fax +49-89-23 66 90 44
www.cascadeur.de · www.swdft.de · email: gerum@aol.com
M
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65
Tanz mit dem Teufel
DA N C E W I T H T H E D EV I L
The crime that rocked the nation and took over twenty years to solve: 25 years ago, Richard
Oetker, heir to one of the largest fortunes in Germany, was kidnapped. For the first time ever, he
has agreed to collaborate with a film team to tell his story.
Sebastian Koch, Tobias Moretti, Christoph Waltz (photo © Beta Film GmbH)
It was the crate. To this day, it still unnerves Richard Oetker when he looks back… It is 1976, and
Oetker is kidnapped and forced into a wooden crate. The kidnapper demands, and gets DM 21
million, an unheard-of sum at the time. Oetker is freed, but while in the crate he suffers an electric
shock that leaves him crippled for the rest of his life. Georg Kufbach, the police agent who found
Oetker, begins a quest for justice that will last nearly 20 years. Convinced that a man named Cilov
is the kidnapper, Georg, working closely with Oetker, begins to circle in on his prey. Cilov knows he
is trapped, but Georg has no proof; Cilov has the money, but Georg has to catch him with it. Like
Oetker in his crate, all three are trapped within the narrow confines of their desires and obsessions.
All three are inextricably bound together, hurtling towards the startling outcome…
Genre Thriller Category Mini-series Year of
Production 2001 Director Peter Keglevic
Screenplay Dr. Rainer Berg Director of
Photography Hans-Günther Bücking Editor
Moune Barius Music by Juergen Ecke
Production Design Martin Schreiber
Producers Nico Hofmann, Ariane Krampe,
Ludwig zu Salm, Patrick Simon Production
Company teamWorx, Berlin/Munich, in co-production with KirchMedia, Munich Principal Cast
Sebastian Koch, Tobias Moretti, Christoph Waltz,
Günther Maria Halmer, Sophie von Kessel, AnnKathrin Kramer Special Effects Effective, Jens
Döldissen Length 2 x 90 min, 4925 Format
16 mm, color, 1:1.85 Original Version
Technology Dolby SR With backing from
FilmFernsehFonds Bayern, ILB Brandenburg
Peter Keglevic is one of the most distinctive directors and script
writers in the German film and television business. He began his successful career 24 years ago directing the TV movie Im Zossener
Bad, for which he also wrote the script. This was followed by,
among others, the feature film Tragique (1977) and the TV movies
Der Zauberlehrling (1977), Auf freiem Fuß (1978),
Zuhaus in der Fremde (1979) and Die Jahre vergehen
(1980). In the years that followed, some of his most important works
were the feature film Bella Donna (1982), The Cop and the
Girl (1985) as well as the TV movies Das Milliardenspiel
(1988) and Dort oben im Wald bei diesen Leuten (1989).
From 1993-1998, he directed a series of productions for RTL, among
them Kommissar Beck – Der Polizistenmörder (1993),
Der Tag der Abrechnung (1994), Die Roy Black Story
(1996), for which he received a German Golden Lion, as well as the
thriller Vicky’s Nightmare (1997) starring Katja Flint and
Christoph Waltz. In 1999, he directed the German-Australian coproduction Falling Rocks for ProSieben, starring Claudia
Michelsen and Christoph Waltz. Dance with the Devil is his
first cooperation with teamWorx and SAT.1.
World Sales:
Beta Film GmbH · Dirk Schürhoff
Robert-Buerkle-Str. 2 · D-85737 Ismaning
phone +49-89-99 56 21 34 / 27 19 · fax +49-89-99 56 27 03
www.betafilm.com · email: DScheurhoff@betafilm.com
66
Venus und Mars
VE N U S AN D MARS
Twenty-six year old Kay returns to her hometown, Himmelsgarten, where she meets up again
with old school friends: Lisa, who works as a photographer and is visiting from San Francisco;
Marie, who lives with her conservative husband in Himmelsgarten and is expecting her fourth
child; and Celeste, who is married to a wealthy and considerably older man and plays the role
of the spoiled creature of luxury.
Daniela Lunkewitz, Julia Sawalha, Fay Masterson, Julie Bowen (photo © Buena Vista International)
Despite their different personalities and lives, they are all bound by a decisive factor: the
search for ”big“ love and “small” personal happiness. And when Kay’s mother brings out the
fortune cards, it seems as though it all comes a bit closer. For when Venus and Mars cross, …
Genre Love Story, Romantic Comedy Category Feature
Film Cinema Year of Production 1999 Director Harry
Mastrogeorge Screenplay Ben Taylor Director of
Photography Martin Fuhrer Editors Darcy Worsham,
Donn Cambern Music by Nathan Barr Production
Design Börries Hahn-Hoffmann, Patrick Steve Müller
Producers Bernd Lunkewitz, Emmo Lempert, Uwe Schott
Production Company Atlantis Film, Frankfurt, in co-production with mitteldeutsches Filmkontor (mdF), Leipzig
Principal Cast Daniela Lunkewitz, Lynn Redgrave, Michael
Weatherly, Fay Masterson, Julie Bowen, Julia Sawalha, Ryan
Hurst Length 93 min, 2544 m Format 35 mm, color, 1:1.85
Original Version English Dubbed Version German
Sound Technology Dolby Digital SDDS/DTS
With backing from Mitteldeutsche Medienförderung,
Filmförderungsanstalt (FFA) German Distributor Buena
Vista International (Germany) GmbH, Munich
Harry Mastrogeorge has directed over 200
productions. He works in New York and Los
Angeles and was a professor of Theater,
Theater Studies and Acting at Brandeis
University and the American Academy of
Dramatic Arts in New York. Since 1960, he has
been an instructor at the acting school named in
his honor and is considered to be one of
America’s most respected acting instructors, his
students including Robert Redford, Ray Liotta,
Melanie Griffith, Heather Graham and Djimon
Hounsou. His films include: Mystery of
the Sacred Shroud – starring Richard
Burton, Desolate Silence, and Cabbages
and Kings. He has also directed such popular
television hit-series as The Mary Tyler Moore
Show, From Here to Eternity, and Miami Vice.
World Sales:
Beyond Group · Gary Hamilton
53-55 Brisbane Street · AUS-Surry Hills NSW 2010
phone +61-2-92 81 12 66 · fax +61-2-92 81 12 61
email: garyh@beyond.com.au
67
Wie Feuer und Flamme
N EV E R M I N D T H E WA L L
Anna Bertheau, Antonio Wannek (photo © X Verleih AG)
Nele is in love with Captain and Captain is in love with Nele. Sounds all sorted and easy?
Well, it’s not because it’s 1982. Nele is living in the western part of divided Berlin; Captain,
a punk, is living in the East. In between this young and precious love – the Wall, the parents,
the clique, the secret police and, on top of that, a fatal and captious Super 8 film that was
not meant to be taken so seriously. However, the two won’t give up, because they realize if
you’re not prepared to fight for your love, you’ve lost already …
Genre Drama, Love Story Category Feature Film
Connie Walther Screenplay Natja Brunckhorst
Director of Photography Peter Nix Editor
Ewa J. Lind Music by Rainer Oleak Production
Design Gabriele Wolff Producers Maria Köpf,
Stefan Arndt Production Company X Filme
Creative Pool, Berlin, in co-production with ZDF,
Mainz Principal Cast Anna Bertheau, Antonio
Wannek, Tim Sander, Luise Helm, Aaron Hildebrand,
Carmen Birk, Michael Krabbe Casting Filmcast
Sabine Schwedhelm Special Effects ARRI Digital
Length 99 min, 2709 m Format 35 mm, color,
1:1.85 Original Version German Subtitled
Version English Sound Technology Dolby SRD
With backing from Filmförderungsanstalt (FFA),
FilmFernsehFonds Bayern, BKM, Filmboard BerlinBrandenburg German Distributor X Vereih AG,
Berlin
Connie Walther studied Sociology and Spanish
before switching over to Photography. After gathering
experience as a lighting gaffer and production and
directing assistant, she studied at the German Film &
Television Academy (dffb) in Berlin and landed her
first success with her graduation film Das erste
Mal (1996), which was recognized as the best graduation film from a German film academy in that year.
Since then, she has demonstrated her talents with
various genres and formats with films such as:
Börsday Blues (short, 1992) – winner of the
Audience Award in Wuppertal and First Prize at the
Fest Festival Asynchron Berlin, Der Clown II (TV,
1997), Tic Tac Toe (TV documentary, 1998),
Hauptsache Leben (1998) – winner of the Adolf
Grimme Award in 1999, as well as an episode of the
Tatort series, Offene Rechnung (1999).
World Sales:
phone +49-89-64 99 26 86 · fax +49-89-64 99 37 20
68
Zeichnen bis zur Raserei
– Der Maler Ernst Ludwig Kirchner
”Kirchner’s art is – like Picasso’s – eminently
autobiographical.“
In other words, the intention and form of Kirchner’s
art are so deeply rooted in reality, yet his life was
such a dramatic reaction to critical upheavals, that one
can conclude: few artists yield so much of themselves
that their work could be described as the focus of an
epoch.
At the end of the century we can take Kirchner as
an example to make a film about the beginning of
the century. No one succumbs to the city as fully as
he did: enamored, lonely, swept off his feet, lost,
disillusioned, fascinated.
Berlin is Kirchner’s city. His streetscapes are considered
the culmination of his work. They are a highlight of
the history of modern painting and the backdrop in
our mind’s eye when we seek to capture big-city life
in the first half of the century.
(© by Dr. Wolfgang und Ingeborg Henze-Ketterer, Wichtrach/Bern)
D R AW T I L YO U D RO P –
T H E PA I N T E R E R N S T LU DW I G K I RC H N E R
Kirchner is the unvarnished perception of modern
life. It hits him in the eye, he reacts, he seeks a form:
size, speed, machine, man-eating monster, whore,
crowds, razzle dazzle, synchronization of sensations,
surrender to the show: cabaret, dance, circus.
Kirchner’s art begins in Dresden and the Moritzburg
ponds. Berlin is his urban awakening. The war crushes
him. He retreats to the Swiss mountains. The span
of tension in Kirchner’s life and work makes for
suspense-filled drama and should yield an intense
film portrayal.
Genre Drama Category Documentary Cinema Year of
Production 2001 Director Michael Trabitzsch Screenplay
Michael Trabitzsch Directors of Photography Rolf
Klingelhöfer, Pio Corradi Editor Mirijam Krokenberger Music
by Michael Rodach Producer Michael Trabitzsch Production
Companies Prounen Film, Berlin, Catpics, Zurich, in co-production with ARTE, Strasbourg, WDR, Cologne, SFB, Berlin, ORB,
Potsdam, SRG SF DRS, Bern Principal Cast Maria Brak, Bernd
Brenner, Martina Reuter, Monika Richter, Britta Zorn Length
86 min, 2506 m Format 35 mm, color, 1:1.66 Original
Version German Subtitled Version English Sound
Technology Dolby SR With backing from Filmboard BerlinBrandenburg, FilmFörderung Hamburg, Kulturelle Filmförderung
Schleswig-Holstein, Media II, EDI/Sektion Film, Switzerland
German Distributor MFA Münchner Filmagentur
Meinke/Arséguel GbR, Munich
Michael Trabitzsch, born in 1954 in Neumünster, studied German Literature, Philosophy and
Sociology in Göttingen and Berlin. He has worked
as a freelance journalist and author for radio-features, documentaries, books and periodicals. From
1987 - 1991, he worked as an assistant director and
assistant producer for Harun Farocki. In 1992, he
founded Prounen Film in Berlin. His films include:
A Quiet Rebel. The Sculptor Wieland
Förster (short, 1992), District of the
Refugees. A Journey into Jewish Paris
(1993), Defenseless Hero. The Sculptor
Werner Stötzer (1995),The Eisenfeld
Family. A Chronicle (1995), The Stones
Still Speak (1996), From Thessaloniki to
Berlin via Auschwitz (1998) and The
Marble Road (2001).
World Sales:
phone +49-89-55 87 60 · fax +49-89-55 87 61 88
M
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69
Das Zimmer
T H E RO O M
Mira Gittner, Marcus Grüsser (photo © 2000 wtp-film GmbH)
Sophie and Christoph are looking after a house with a locked room – where
everything (…or nothing) can be concealed from others. They project their
hidden thoughts and memories into this locked room. ”All houses have a
forbidden room“ says Christoph, Sophie’s answer, ”just like our souls.“
Between dream and reality, they develop a labyrinth of emotions. The heart
of the story is not the mysterious incidents in the house, but rather the hidden
feelings of the occupants.
Genre Psycho-Thriller Category Feature Film Cinema
Year of Production 2000 Director Roland Reber
Screenplay Roland Reber Directors of Photography Roland Reber, Mira Gittner Editor Mira Gittner
Music by Wolfgang Edelmayer Producer Petra
Knieper, Ute Meisenheimer Production Company
wtp-film, Geiselgasteig Principal Cast Mira Gittner,
Marcus Grüsser Casting wtp-film Special Effects
Mira Gittner Length 70 min, 1915 m Format Digi
Beta Blow Up 35 mm, color Original Version
Technology Stereo Mix International Festival
Screenings International Festival de Cine Mexico 2000,
International Film Festival Sitges, Spain 2000, Millenium
Film Festival of Fine Arts, Hungary 2000, Angel Citi
International Film Festival Hollywood/Chicago 2001,
International Film Festival of Uruguay, Montevideo 2001,
International Film Festival of Kerala, India 2001, Director’s
View, Stamford/New York 2001, Melbourne Underground Film Festival 2001 International Awards
President’s Award Ajijic, Mexico 2000, Emerging Filmmaker
Award, Hollywood 2001
Roland Reber has worked as a director and actor
in theaters in Bochum, Zurich, Essen, Düsseldorf and
for the Ruhrfestspiele Recklinghausen after finishing
his Acting studies in Bochum in the 70s. He has written more than twenty theater plays and scripts as
well as text and lyrics. In 1989, he founded the Welt
Theater Projekt (within the framework of the World
Decade for Cultural Development of the United
Nations and UNESCO) and worked as director,
writer and head of WTP in India, Moscow, Cairo,
Mexico City and in the Caribbean. He has also been
cultural advisor to different countries and institutes
and received the Cultural Prize of Switzerland and the
Caribbean award Season of Excellence as a director
and writer. In 2000, wtp film and Reber were named
Producer of the Year by the Bavarian Film Center for
the direction of The Room. His other films include:
Ihr habt meine Seele gebogen wie einen
schönen Tänzer (1977), Die kleine Heimat
(TV, 1978), Manuel (short, 1998), Der Fernsehauftritt (short, 1998), Der Koffer (short,
1999), and Compulsion (Zwang, short, 2000).
wtp-film GmbH · Bayerisches Filmzentrum
Roland Reber
phone +49-89-64 98 11 12 · fax +49-89-64 98 13 12
www.wtpfilm.de · email: wtpfilm@wtpfilm.de
70
Export-Union of German Cinema
Shareholders and Supporters
Verband Deutscher Spielfilmproduzenten e.V./
Association of German Feature Film Producers
please contact Franz Seitz
Beichstr. 8, D-80802 Munich
phone +49-89-39 11 23, fax +49-89-33 74 32
Arbeitsgemeinschaft Neuer Deutscher Spielfilmproduzenten/
Association of New Feature Film Producers
please contact Margarete Evers
Agnesstr. 14, D-80798 Munich
phone +49-89-2 71 74 30, fax +49-89-2 71 97 28
email: ag-spielfilm@t-online.de
Verband Deutscher Filmexporteure e.V./
Association of German Film Exporters
please contact Lothar Wedel
Tegernseer Landstr. 75, D-81539 Munich
phone +49- 89-6 92 06 60, fax +49-89-6 92 09 10
email: vdfe@kanzlei-wedel.de
Filmförderungsanstalt
Große Präsidentenstr. 9, D - 10178 Berlin
phone +49-30-27 57 70, fax +49-30-27 57 71 11
www.ffa.de, email: presse@ffa.de
Beauftragter der Bundesregierung für
Angelegenheiten der Kultur und der Medien
Referat K 36, Graurheindorfer Str. 198 , D - 53117 Bonn
phone +49-18 88-6 81 36 43, fax +49-18 88-6 81 38 53
email: Hermann.Scharnhoop@bkm.bmi.bund.de
Filmboard Berlin-Brandenburg GmbH
August-Bebel-Str. 26-53, D - 14482 Potsdam-Babelsberg
phone +49-3 31-7 43 87-0, fax +49-3 31-7 43 87-99
www.filmboard.de
email: filmboard@filmboard.de
FilmFernsehFonds Bayern GmbH
Sonnenstr. 21, D - 80331 Munich
phone +49-89-5 44 60 20, fax +49-89-54 46 02 21
www.fff-bayern.de
email: filmfoerderung@fff-bayern.de
FilmFörderung Hamburg GmbH
Friedensallee 14–16, D - 22765 Hamburg
phone +49-40-3 98 37-0, fax +49-40-3 98 37-10
www.ffhh.de
email: filmfoerderung@ffhh.de or location@ffhh.de
Filmstiftung NRW GmbH
Kaistr. 14, D - 40221 Düsseldorf
phone +49-2 11-93 05 00, fax +49-2 11-93 05 05
www.filmstiftung.de
email: info@filmstiftung.de
Medien- und Filmgesellschaft
Baden-Württemberg mbH
Filmförderung
Huberstr. 4, D - 70174 Stuttgart
phone +49-7 11-1 22 28 33, fax +49-7 11-1 22 28 34
www.film.mfg.de
email: filmfoerderung@mfg.de
Mitteldeutsche Medienförderung GmbH
Hainstr. 17-19, D - 04109 Leipzig
phone +49-3 41-26 98 70, fax +49-3 41-2 69 87 65
www.mdm-foerderung.de
email: info@mdm-foerderung.de
Film Exporters
Members of the German Film Exporters’ Association
please contact Lothar Wedel
Tegernseer Landstr. 75 · D-81539 Munich · phone +49-89-6 92 06 60 · fax +49-89-6 92 09 10
Progress Film-Verleih GmbH
ARRI Media Worldsales
please contact Antonio Exacoustos jun.
Türkenstr. 89
D-80799 Munich
phone +49-89-38 09 12 88
fax +49-89-38 09 14 33
www.arri-mediaworldsales.de
email: aexacoustos@arri.de
DWF
Dieter Wahl Film
please contact Dieter Wahl
Sörgelstr. 15b
D-81477 Munich
phone +49-89-53 27 21
fax +49-89-53 12 97
email: wahlfilm1@aol.com
please contact Christel Jansen
Burgstr. 27
D-10178 Berlin
phone +49-30-24 00 32 25
fax +49-30-24 00 32 22
www.progress-film.de
email: c.jansen@progress-film.de
Atlas International
Film GmbH
Exportfilm Bischoff & Co. GmbH
please contact Denise Booth
please contact
please contact Jochem Strate,
Philip Evenkamp
Rumfordstr. 29-31
D-80469 Munich
phone +49-89-21 09 75-0
fax +49-89-22 43 32
www.atlasfilm.com
email: mail@atlasfilm.com
Isabellastr. 20
D-80798 Munich
phone +49-89-2 72 93 60
fax +49-89-27 29 36 36
email: philipevenkamp@csi.com
Clausewitzstr. 4
D-10629 Berlin
phone +49-30-8 80 48 60
fax +49-30-88 04 86 11
www.das-werk.de
email: office@road-movies.de
Bavaria Film International
Dept. of Bavaria Media GmbH
please contact Michael Weber,
Thorsten Schaumann
Bavariafilmplatz 8
D-82031 Geiselgasteig
phone +49-89-64 99 26 86
fax +49-89-64 99 37 20
Beta Film GmbH
please contact Dirk Schürhoff
Robert-Buerkle-Str. 2
D-85737 Ismaning
phone +49-89-99 56 - 21 34
fax +49-89-99 56 - 27 03
www.betafilm.com
email: DSchuerhoff@betafilm.com
cine aktuell
Filmgesellschaft mbH
please contact Eugen Schaarschmidt,
Ralf Faust, Axel Schaarschmidt
Werdenfelsstr. 81
D-81377 Munich
phone +49-89-7 41 34 30
fax +49-89-74 13 43 16
email: cine_aktuell@compuserve.com
Cine-International Filmvertrieb
GmbH & Co. KG
please contact Lilli Tyc-Holm, Susanne Groh
Leopoldstr. 18
D-80802 Munich
phone +49-89-39 10 25
fax +49-89-33 10 89
www.cine-international.de
email: email@cine-international.de
72
Road Sales GmbH Mediadistribution
Programmvertrieb GmbH
please contact Silke Spahr
Richartzstr. 6-8a
D-50667 Cologne
phone +49-2 21-92 06 90
fax +49-2 21-9 20 69 69
email: germanunited@compuserve.com
and
Bavaria Media TV Vertrieb
RRS Entertainment Gesellschaft für
Filmlizenzen GmbH
please contact Robert Rajber
Sternwartstr. 2
D-81679 Munich
phone +49-89-2 11 16 60
fax +49-89-21 11 66 11
email: info@rrsentertainment.de
Telepool – EuropäischesFernsehprogrammkontor GmbH
please contact Rosemarie Dermühl
please contact Wolfram Skowronnek
Bavariafilmplatz 8
D-82031 Geiselgasteig
phone +49-89-64 99 36 66
fax +49-89-64 99 22 40
email: info@germanunited.com
Sonnenstr. 21
D-80331 Munich
phone +49-89-55 87 60
fax +49-89-55 87 61 88
www.telepool.de
email: skowronnek@telepool.de
Kinowelt International GmbH
please contact Alexander van Dülmen
Transit Film GmbH
Schwere-Reiter-Str. 35/Geb. 14
D-80797 Munich
phone +49-89-3 07 96 80 66
fax +49-89-3 07 96 80 67
www.kinowelt-filmverleih.de
email: info@kinowelt-international.com
please contact Loy Arnold, Mark Grünthal
Media Luna Entertainment
GmbH & Co.KG
Uni Media International GmbH & Co.
Produktions- und Vertriebs KG
please contact Ida Martins
please contact Irene Vogt
Hochstadenstr. 1-3
D-50674 Cologne
phone +49-2 21-1 39 22 22
fax +49-2 21-1 39 22 24
email: info@mediaLuna-entertainment.de
idamartins@mediaLuna-entertainment.de
Bayerstr. 15
D-80335 Munich
phone +49-89-59 58 46
fax +49-89-5 50 17 01
email: UniMediaInt@t-online.de
Dachauer Str. 35
D-80335 Munich
phone +49-89-59 98 85-0
fax +49-89-59 98 85-20
email: transitfilm@compuserve.com
Waldleitner Media GmbH
Metropolis
Filmvertrieb GmbH
please contact Michael Waldleitner,
please contact Luciano Gloor
Münchhausenstr. 29
D-81247 Munich
phone +49-89-55 53 41
fax +49-89-59 45 10
email: Roxy-Film@t-online.de
Schönberger Ufer 71
D-10785 Berlin
phone +49-30-26 39 56 30
fax +49-30-26 39 56 59
email: luciano.gloor@metropolis-film.de
Angela Waldleitner
The Export-Union of German Cinema –
The Export-Union of German Cinema is the national information
A Profile
EXPORT-UNION’S RANGE OF ACTIVITIES:
and advisory center for the export of German films. It was established in 1954 as the ”umbrella“ association for the Association of
Close cooperation with the major international film
German Feature Film Producers, the Association of New German
festivals, e.g. Berlin, Cannes, Venice, Montreal, Toronto,
Feature Film Producers and the Association of German Film
San Sebastian, Tokyo, New York, Locarno, Karlovy Vary;
Exporters, and operates today in the legal form of a limited company.
Shareholders in the limited company are the Association of
Organization of umbrella stands for German sales companies
German Feature Film Producers, the Association of New German
and producers at international TV and film markets, e.g.
Feature Film Producers, the Association of German Film Exporters
MIP-TV, MIPCOM, NATPE, AFM;
and the German Federal Film Board (FFA).
The members of the board of the Export-Union of
Staging of German Film Weeks in key cities of the interna-
German Cinema are: Jochem Strate (chairman), Rolf Bähr,
tional film industry (2001: Buenos Aires, London, Los Angeles,
Antonio Exacoustos Jr. and Michael Weber.
Madrid, Mexico City, New York, Paris, Rome, Warsaw);
The Export-Union itself has nine permanent staff:
• Christian Dorsch, managing director
Providing advice and information for representatives of
• Susanne Reinker, PR manager
the international press and buyers from the fields of
• Julia Basler, project manager
cinema, video, TV;
• Angela Hawkins, publications editor
• Cordula Ulrich, PR assistant
• Stephanie Weiss, PR assistant
Providing advice and information for German filmmakers and
• Nicole Kaufmann, project coordinator
press on international festivals, conditions of participation
• Petra Bader, office manager
and German films being shown, e.g. publication of a
• Barbara Hirth, accounts
comprehensive guide to international film festivals as well as
a German film festival guide;
In addition, the Export-Union shares foreign representatives
in eight countries with the German Federal Film Board (FFA).
(cf. page 74)
Publication of informational literature on the current
German cinema: KINO-Magazine and KINO-Yearbook;
The Export-Union’s budget of presently approx. DM 4
million (including projects, administration, foreign representatives)
comes from the export levies, monies from the office of the Federal
An Internet website (http://www.german-cinema.de)
Government Commissioner for Cultural Affairs and the Media and
offering both information about new German films as well
the FFA. In addition, the six main economic film funds
as a film archive;
(Filmboard Berlin-Brandenburg, FilmFernsehFonds Bayern, FilmFörderung Hamburg, Filmstiftung NRW, Medien- and Filmgesellschaft
Baden-Württemberg and Mitteldeutsche Medienförderung) have
Organization of the selection procedure for the German
made a financial contribution, currently amounting to DM 0.45
entry for the OSCAR for Best Foreign Language Film.
million, towards the work of the Export-Union. In 1997, the ExportUnion and five large economic film funds founded an advisory
committee whose goal is the ”concentration of efforts for the
The focus of the work: feature films; documentaries with
promotion of German film abroad“ (constitution).
theatrical potential and shorts that have been invited to the main
sections of major festivals.
The Export-Union is a founding member of the ”European Film
Promotion“, an amalgamation of twenty national film-PR
agencies (UNIFRANCE, the Scandinavian film institutes, Italia
Cinema, Holland Film, among others) with similar responsibilities to
those of the Export-Union. The organization, with its headquarters
in Hamburg, aims to develop and realize joint projects for the
presentation of European films on an international level.
Foreign Representatives
Argentina
Dipl. Ing. Gustav Wilhelmi
Lavalle 1928 · 1º Piso
C1051ABD Buenos Aires
phone +54 -11- 49 52 15 37
phone + fax +54 -11- 49 51 19 10
email: gustav.wilhelmi@german-cinema.de
Italy
Alessia Ratzenberger
Angeli Movie Service
Piazza Massa Carrara, 6
I-00162 Rome
phone +39-06-86 20 44 14 / 8 60 54 21
fax +39-06-8 60 74 75
email: alessia.ratzenberger@german-cinema.de
United Kingdom
Iris Kehr
Top Floor
113-117 Charing Cross Road
GB-London WC2H ODT
phone +44-20-74 37 20 47
fax +44-20-74 39 29 47
email: iris.kehr@german-cinema.de
China & South East Asia
Lukas Schwarzacher
G/F, 71-B Peak Road
Cheung Chau, Hong Kong
phone +8 52-29 86 85 55
e-fax +1-240-255-71 60
email: lukas.schwarzacher@german-cinema.de
Japan
Tomosuke Suzuki
Nippon Cine TV. Corporation
Suite 123, Gaien House
2-2-39 Jingumae
Tokyo, Shibuya-Ku, Japan
phone +81-3-34 05 09 16
fax +81-3-34 79-08 69
email: tomosuke.suzuki@german-cinema.de
USA/East Coast & Canada
Brigitte Hubmann
1202 Lexington Avenue, #352
New York, NY 10028, USA
phone +1-2 12-4 39-07 70
fax +1-2 12-4 39-91 93
email: brigitte.hubmann@german-cinema.de
France
Cristina Hoffman
2, Place de Séoul
F-75014 Paris
phone/fax +33-1-49 86 44 18
email: cristina.hoffman@german-cinema.de
Spain
Stefan Schmitz
Avalon Productions S.L.
C/ Duque de Rivas, 2-2°D
E-28012 Madrid
phone +34-91-3 66 43 64
fax +34-91-3 65 93 01
email: stefan.schmitz@german-cinema.de
USA/West Coast
Corina Danckwerts
Capture Film, Inc.
2400 W. Silverlake Drive
Los Angeles, CA 90039, USA
phone +1-3 23-6 68-01 12
fax +1-3 23-6 68-08 53
email: corina.danckwerts@german-cinema.de
Imprint
published by:
Editors
Production Reports
Export-Union des
Deutschen Films GmbH
Contributors for this issue
Sonnenstr. 21
D-80331 Munich
phone +49-89-5 99 78 70
fax +49-89-59 97 87 30
Translations
www.german-cinema.de
email: export-union@german-cinema.de
© Export-Union des Deutschen Films
All rights reserved. No reproduction, copy or
transmission of this publication may be made
without written permission.
74
Martin Blaney, Simon Kingsley
Martin Blaney, Simon Kingsley, Katja Nicodemus,
Hans-Günther Pflaum, Hans-Helmut Prinzler,
Rudolf Worschech
Simon Kingsley, Lucinda Rennison
Design Group
triptychon · agentur für design
und kulturkommunikation
Art Direction
Werner Schauer
ISSN 0948-2547
Credits are not contractual for any
of the films mentioned in this publication.
Angela Hawkins, Susanne Reinker
Printing Office
Financed by
ESTA Druck,
Obermühlstr. 90, D-82398 Polling
the office of the Federal Government
Commissioner for Cultural Affairs and the Media.
Printed on ecological, unchlorinated paper.
GERMAN FILM AWARD
… and the nominees are:
BEST LEADING ACTRESS
BEST PICTURE
alaska.de
by Esther Gronenborn
N
NNES
S
AT C A
FI LM
RMAN
E
G
EW
Julia Hummer
in Die Innere Sicherheit
NNES
AT C A
EEK
IC S’ W
T
I
R
C
Crazy
Franka Potente
by Hans-Christian Schmid
in Der Krieger und die Kaiserin
Das Experiment
Katrin Saß
by Oliver Hirschbiegel
in Heidi M.
Gran Paradiso
by Miguel Alexandre
Die Innere
Sicherheit
BEST LEADING ACTOR
C
NNES
AT C A
K
’ WE E
S
C
I
RIT
Moritz Bleibtreu
by Christian Petzold
in Das Experiment
Der Krieger und
die Kaiserin
Marek Harloff
by Tom Tykwer
Robert Stadlober
in Vergiss Amerika
in Crazy
NNES
AT C A
K
’ WE E
S
C
I
C RIT
D O C U M E N TA R Y F E AT U R E
Havanna Mi Amor
NNES
AT C A
O
: AC D
M
U
FOR
by Uli Gaulke
BEST SUPPORTING ACTRESS
Barbara Auer
Milch und Honig
aus Rotfront
in Die Innere Sicherheit
NNES
AT C A
K
’ WE E
S
C
I
C RIT
Franziska Troegner
by Hans-Erich Viet
in Heidi M.
Antje Westermann
DIRECTING
in Gran Paradiso
Esther Gronenborn
by alaska.de
Christian Petzold
by Die Innere Sicherheit
Tom Tykwer
by Der Krieger und die Kaiserin
N
NNES
S
AT C A
FI LM
RMAN
E
G
EW
NNES
AT C A
K
’ WE E
S
C
I
C RIT
BEST SUPPORTING ACTOR
Justus von Dohnànyi
in Das Experiment
Frank Giering
in Gran Paradiso
Lars Rudolph
in Der Krieger und die Kaiserin
NEW
ADDRESS
as
of
march
Sonnenstrasse 21
D-80331 Munich
phone +49-89-59 97 87 0
fax +49-89-59 97 87 30
GERMAN
CINEMA
www.german-cinema.de · email: export-union@german-cinema.de
2001

Titel Kino 2/2001(2 Alternativ)

Transcription

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