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GFQ
G E R M A N F I L M S Q U A R T E RLY
IN CANNES
ISSUE 2-2018
Sergei Loznitsa’s DONBASS in Un Certain Regard
Ulrich Köhler’s IN MY ROOM in Un Certain Regard
Margarethe von Trotta’s SEARCHING FOR INGMAR BERGMAN in Cannes Classics
DIRECTORS Ulrich Köhler & Ina Weisse
PRODUCERS Rafael Parente, Korbinian Dufter & Simon Amberger of NEUESUPER
ACTOR Godehard Giese
CONTENTS GFQ 2-2018 4 5 6 21 25 28 31 32 32 33 33 34 2
GFQ 2-2018 CONTENTS
IN THIS ISSUE
I N C A NNE S NEW D OCUM ENTARIES
DONBASS AUSSORTIERT – ASIENS UNERWÜNSCHTE TÖCHTER
Sergei Loznitsa ................................................................................. 4 THE BACHELOR TIME BOMB
Antje Christ, Dorothe Dörholt .......................................................... 32
IN MY ROOM
Ulrich Köhler ..................................................................................... 5 KUNST IM PARADIES
ART IN PARADISE
SEARCHING FOR INGMAR BERGMAN Joachim Haupt, Sabine Pollmeier ................................................. 32
Margarethe von Trotta ...................................................................... 6
NEW SHORTS
P O R T R A I TS
BURKINA BRANDENBURG KOMPLEX
PEOPLE IN HOUSES, BUT NOT AT HOME Ulu Braun ......................................................................................... 33
A portrait of director Ulrich Köhler ................................................. 8
CARLOTTA’S FACE
WORKING PARTNERSHIPS Valentin Riedl, Frédéric Schuld ........................................................ 33
A portrait of director Ina Weisse ..................................................... 10
LINK
TEAM SPIRIT Robert Löbel .................................................................................... 34
A portrait of production company NEUESUPER .............................. 12
EXPLORING INNER WORLDS UPCOM ING F ILM S
A portrait of actor Godehard Giese .................................................. 14
100 DINGE
Florian David Fitz ............................................................................. 35
NEWS & NOTES ................................................................................ 16
BEAT
Marco Kreuzpaintner ...................................................................... 35
N E W F E ATU R E S
DEUTSCHSTUNDE
DIE DEFEKTE KATZE Christian Schwochow ...................................................................... 35
A DYSFUNCTIONAL CAT Susan Gordanshekan .............................. 21
DREISSIG
DRAUSSEN IN MEINEM KOPF Simona Kostova ............................................................................... 36
Eibe Maleen Krebs ........................................................................... 22
ELEFANTEN WACHSEN SCHNELL
FONOTUNE: AN ELECTRIC FAIRYTALE Carlos A. Morelli ............................................................................. 36
FINT .................................................................................................. 23
KENT OZANI, DER STADTSCHREIBER VON ISTANBUL
FRAU MUTTER TIER Dogan Altuner .................................................................................. 36
MOTHER BEE Felicitas Darschin ...................................................... 24
DER KRIEG IN MIR
FÜNF FREUNDE – UND DAS TAL DER DINOSAURIER Sebastian Heinzel ............................................................................. 37
THE FAMOUS FIVE – AND THE VALLEY OF DINOSAURS
Mike Marzuk .................................................................................... 25 PARFUM
Philipp Kadelbach ........................................................................... 37
DER GESCHMACK VON LEBEN
TASTE OF LIFE Roland Reber ......................................................... 26 STILLSTEHEN
Elisa Mishto ..................................................................................... 37
HEILSTÄTTEN
Michael David Pate .......................................................................... 27 SYSTEMSPRENGER
Nora Fingscheidt ............................................................................ 38
LILIANE SUSEWIND
Joachim Masannek ......................................................................... 28 TEARS OF CHANGE
Ceylan Alejandro Ataman-Checa ..................................................... 38
REISE NACH JERUSALEM
THE CHAIRS GAME Lucia Chiarla .................................................. 29 TRÄUME VON RÄUMEN
Matthias Lintner .............................................................................. 38
SCHWIMMEN
SWIMMING Luzie Loose ................................................................... 30 WARUM
Bernd Böhlich ................................................................................... 39
SPIELMACHER
PLAYMAKER Timon Modersohn ..................................................... 31 WEST OF LIBERTY
Barbara Eder .................................................................................... 39
Shareholders & Supporters ............................................................ 45
Film Exporters ................................................................................. 46
Imprint .............................................................................................. 47
3
IN CANNES GFQ 2-2018
© ma.ja.de. Fiction
DONBASS
W
hen war is called peace, when SERGEI LOZNITSA was born in 1964 in GENRE Drama CATEGORY Feature YEAR
propaganda is uttered as Baranovichi in the former USSR. He grew OF PRODUCTION 2018 DIRECTOR Sergei
truth, when hatred is de- up in Kiev, and graduated from the Kiev Loznitsa SCREENPLAY Sergei Loznitsa CINE-
clared to be love, life itself Polytechnic with a degree in Applied Mathe- MATOGRAPHY Oleg Mutu CAST Tamara
begins to resemble death. Surviving Donbass. matics. From 1987-1991, he was employed Yatsenko, Liudmila Smorodina, Olesya
A practical guide to Inferno. at the Kiev Institute of Cybernetics, working Zhurakovskaya, Boris Kamorzin, Thorsten
on artificial intelligence research. He also Merten, Sergei Russkin, Petro Panchuk,
The action of the film takes place in a region worked as a translator for Japanese. In 1997 Irina Plesnyaeva, Zhanna Lubgane, Vadim
of Eastern Ukraine, occupied by various cri- Sergei Loznitsa graduated from the Russian Dobuvsky, Alexander Zamurayev, Gerogy
minal gangs, which are fighting at once with State Institute of Cinematography (VGIK). He Deliev, Valeriu Andriuta, Konstantin Itunin,
the Ukrainian regular army, with other gangs studied Feature Filmmaking in the class of Valery Antoniuk, Nina Antonova, Natalia
and with Russian troops. The context in which Nana Dzhordzhadze. From 2000-2008 he Buzko, Sergei Kolesov, Svetlana Kolesova,
the action takes place is a hybrid war, happe- worked at the St. Petersburg Documentary Sergei Smeyan PRODUCER Heino Deckert
ning alongside an open armed conflict, Film Studio. In 2001, he and his family moved PRODUCTION COMPANY ma.ja.de. Fiction,
accompanied by robberies on a mass scale to Germany. A selection of his award-winning in co-production with Arthouse Traffic, JBA
and gradual degradation of the civilian popu- films includes: TODAY WE ARE GOING Production, Graniet Film, Wild at Art, Digital
lation. There is fear, deception, hatred and TO BUILD A HOUSE (1996), LIFE, AUTUMN Cube RUNTIME 120 min LANGUAGE Russian,
violence everywhere. Society is collapsing, (1998), THE TRAIN STOP (2000), SETTLE- Ukrainian FESTIVALS Cannes 2018 (Un
and death and deadly silence lie upon the MENT (2001), PORTRAIT (2002), LANDSCAPE Certain Regard – Opening Film)
place. The state of war reaches its climax. (2003), FACTORY (2004), BLOCKADE (2005),
ARTEL (2006), REVUE (2008), MY JOY (2010), SALES
IN THE FOG (2012), AUSTERLITZ (2016), and Pyramide Films
DONBASS (2018). sales@pyramidefilms.com
www.pyramidefilms.com
4
GFQ 2-2018 IN CANNES
© Pandora Film Produktion
IN MY ROOM
A
rmin is getting too old for his ULRICH KÖHLER was born in 1969 in GENRE Drama CATEGORY Feature YEAR OF
night life habits and the woman he Marburg and studied Fine Arts in France, PRODUCTION 2018 DIRECTOR Ulrich Köhler
likes. He’s not really happy, but Philosophy in Hamburg and later Visual SCREENPLAY Ulrich Köhler CINEMATOG-
can’t picture living a different life. Communication at the University of Fine Arts RAPHY Patrick Orth CAST Hans Löw, Elena
One morning he wakes up: the world looks in Hamburg, where he also made his first Radonicich, Michael Wittenborn, Emma
the same as always, but mankind has dis- short films. His feature films BUNGALOW Bading, Kathrin Resetarits, Ruth Bickelhaupt
appeared. and WINDOWS ON MONDAY premiered in PRODUCERS Christoph Friedel, Claudia
the Berlinale Forum and have screened at Steffen PRODUCTION COMPANY Pandora
A film about the frightening gift of maximum many festivals worldwide, winning national Film Produktion, in co-production with Echo
freedom. and international awards. His film SLEEPING Film, Komplizen Film, WDR, ARTE RUNTIME
SICKNESS premiered in Competition at the 120 min LANGUAGE German, English FESTI-
Berlinale and won the Silver Bear for Best VALS Cannes 2018 (Un Certain Regard)
Directing.
SALES
The Match Factory
info@matchfactory.de
www.the-match-factory.com
5
IN CANNES GFQ 2-2018
© Börres Weiffenbach
SEARCHING
FOR INGMAR
BERGMAN
“
I
am often asked whether I have a parti- his internationally renowned actresses (Liv MADNESS (1983), ROSA LUXEMBURG (1985),
cular role model. Who is my favorite Ullmann, Gunnel Lindblom, Julia Dufvenius), THE AFRICAN WOMAN (1990), THE LONG SI-
director? My answer is always the his working companions and Bergman LENCE (1993), THE PROMISE (1994), ROSEN-
same: Ingmar Bergman. Of course, experts, von Trotta also met with different STRASSE (2003), I AM THE OTHER WOMAN
there are many film directors who are important generations of directors from different (2006), VISION (2009), HANNAH ARENDT
to me, but he was the first whom I perceived as countries: from Carlos Saura and Olivier (2012), FORGET ABOUT NICK (2017), and her
an ‘artist’ and who sparked the wish within me Assayas, to Ruben Östlund and Mia Hansen first documentary SEARCHING FOR INGMAR
to make films myself.” Margarethe von Trotta Løve. During the talks with her colleagues, BERGMAN (2018), among others.
von Trotta asks: “Which films and which
40 years later and after having directed some scenes inspired you? And what remains of GENRE Art, Film History CATEGORY Docu-
24 of her own films, von Trotta set off to Bergman – of his thoughts, his characters mentary YEAR OF PRODUCTION 2018
explore the trail left by Bergman in the world and his significance to the history of cinema? DIRECTOR Margarethe von Trotta CINE-
of film. She still has tremendous respect for MATOGRAPHY Börres Weiffenbach PRO-
the master, but she embarks on a personal MARGARETHE VON TROTTA ranks among the DUCTION COMPANY C-Films (Deutschland),
journey through the Bergman universe, his most important female directors in German in co-production with Mondex et Cie RUN-
films and his life, visiting original locations cinema since the 1970s, during which time TIME 96 min LANGUAGE German, Swedish,
and places to find out what was typical of she also made a name for herself as an English, French FESTIVALS Cannes 2018
Bergman. And she talks to members of his actress. Today primarily active as a screen- (Cannes Classics)
family and companions, who worked with him writer and director, her most well-known
for many years. His female characters and a films include: THE LOST HONOR OF SALES
fresh interpretation of his masterpieces are KATHARINA BLUM (1975, in co-direction with CMG Cinema Management Group
key elements of this quest. Volker Schlöndorff), THE SECOND AWAKE- info@CinemaManagementGroup.com
NING OF CHRISTA KLAGES (1977), SISTERS www.cinemamanagementgroup.com
But what significance does Bergman have for OR THE BALANCE OF HAPPINESS (1979),
today’s generation of filmmakers? Aside from MARIANNE AND JULIANE (1981), SHEER
6
°efp
producers
on the move
presented by °efp at the cannes film
european film promotion festival 2018
Fabian Massah
Endorphine
Veselka Kiryakova Production
Red Carpet Germany Biljana Tutorov
Bulgaria Wake Up Films
Serbia
Esko Rips Lukas Trimonis
Nafta Films iN SCRiPT Luisa Romeo
Estonia Lithuania Frida Films
Spain
Birgitta Björnsdottir
Oliver Sertić Vintage Pictures
Restart Iceland
Croatia
Peter Badač
BFILM
Slovak Republic
Miia Haavisto Frank Hoeve
Tekele Productions BALDR Film David Herdies
Finland The Netherlands Momento Film
Radovan Síbrt Sweden
Marco Alessi
Pink Dugong Films
Czech Republic Italy
Per Damgaard Nicolas Anthomé Aija Berzina Åshild Ramborg Rok Sečen Katrin Renz
Hansen Bathysphere Tasse Film Maipo Film Monoo Tellfilm
Masterplan Pictures Productions Latvia Norway Slovenia Switzerland
Denmark France
EFP is a unique network of 38 European member organisations Participating EFP members
who represent films and talent from their respective territories. Bulgarian National Film Center, Croatian Audiovisual Centre, Czech
Under the EFP flag, they team up on initiatives to jointly promote Film Center, Danish Film Institute, Estonian Film Institute, EYE
the diversity and the spirit of European cinema and talent at key International/The Netherlands, Film Center Serbia, Finnish Film
international film festivals and markets. Foundation, German Films, Icelandic Film Centre, ICAA/Spain,
Istituto Luce Cinecittà/Italy, Lithuanian Film Centre, National Film
Contact in Cannes Centre of Latvia, Norwegian Film Institute, Slovak Film Institute,
cannes@efp-online.com Slovenian Film Center, Swedish Film Institute, Swiss Films, UniFrance
EFP is supported by Event partner
www.efp-
online.com
DIRECTOR’S PORTRAIT GFQ 2-2018
© Annette Hauschild/Pandora Film Produktion
PEOPLE IN HOUSES,
BUT NOT AT HOME
A PORTRAIT OF DIRECTOR ULRICH KÖHLER
I
n Ulrich Köhler’s debut film BUNGALOW Ulrich Köhler currently lives in Berlin-Prenz- In WINDOWS ON MONDAY, a young doctor,
one minor character says: “I come from lauer Berg. There’s a café where the film- Nina, pregnant with her second child and in
here; we live here.” The film is set in the maker drinks an espresso in the mornings, the midst of renovating a house with her
provinces of central Germany, in Hesse, and often calls in to have one for the road in husband Frieder, is the one who pulls away
but words like these could never pass the lips the evening, e.g. after a visit to the cinema. from the established norms of nuclear family
of a leading character in any of the film- Such routines are alien to his film characters, life. Nina also flees to her parents’ empty
maker’s works. because they live in places where they are not weekend property, and from there through
at home. the forest to a hotel. She roams through its
Köhler was born in 1969, and it is true that his corridors, dropping into strangers’ parties,
œuvre to date consists of only three films – In BUNGALOW, a young recruit called Paul where she encounters an ageing professional
BUNGALOW (2002), WINDOWS ON MONDAY deserts to his parents’ weekend cottage, tennis player, who is swinging his racket for a
(2006), and SLEEPING SICKNESS (2011); and where he encounters his older brother and show.
the fourth, most recent film IN MY ROOM is the latter’s girlfriend. This provides the basis
celebrating its premiere this year in Cannes’ for conflict, as the directionless, 19-year-old “That’s true,” Köhler says when I enquire
Un Certain Regard. Nevertheless, it is not anti-hero with his still youthful, awkward body about his characters’ experiences of alien-
wrong to speak of an œuvre: Köhler’s films rejects the norms of social cohabitation. The ation. “I have always had the sense that I
are linked interestingly via their motifs and idea, for example, that you don’t fall in love didn’t belong. In Africa we were the children
references. And identification with place is with your older brother’s girlfriend. of the white development aid workers, the
clearly not one of them. ones who had the toys and could decide who
8
GFQ 2-2018 DIRECTOR’S PORTRAIT
their friends were. We exploited that shame- When studying at the Hamburg State
lessly.” For four years, between the ages of Academy of Higher Artistic and Scientific
five and nine, Köhler and his brother lived in Education during the nineties, he was regis-
Mobutu Sese Seko’s Zaire. “We arrived there tered at the same time as Jonathan Meese
straight after the ‘Rumble in the Jungle’ box- and Daniel Richter. “If I had stuck to art,” Köh-
ing match between Muhammad Ali and ler jokes, ”I would be rich and famous today.”
George Foreman. People were calling out:
‘Ali, buma ye!’ and wearing Ali T-shirts.” But since then he has developed further in
the direction of film, and after BUNGALOW
His impressions of that time play a part in he has been considered part of the so-called
SLEEPING SICKNESS. The film is about a ‘Berlin School’. This is a frequently over-
doctor, Ebbo Velten, whose time in Africa is used label, but Köhler has no problem with
actually coming to an end. As opposed to what it: “A group of filmmakers who know and
may be suggested in the first half of the appreciate each other’s work, and sometimes
film, however, he will not have returned to make use of similar references. But you could
Germany, to Wetzlar in Hesse, when – after a probably make out just as many differences.”
brilliant cut – French doctor Alex Nzila from
the World Health Organization travels to And what is IN MY ROOM about? “In the
Cameroon to evaluate a sponsored project in broadest sense, the film is a Robinsonade”.
the second half of the film. Two outsiders in That doesn’t sound as if anyone has deep
the wrong place encounter each other in roots in the place he is living. But how could
Velten and Nzila: the German doctor who he – after all, we are talking about the
seems unable to return home after long years protagonist in a film by Ulrich Köhler.
in a foreign country, and Nzila, the son of a
Congolese father, who doesn’t understand his Matthias Dell
ancestors’ country.
Köhler’s return to German society was not
problem-free, either. “At the start of year four
here, one of my fellow pupils sat next to me,
saying: You’re the African and I’m the Turk, we
belong together. Then I got an A for my first
school essay and he moved away again
because he didn’t want to associate with an
eager beaver. So I sat on my own for six
months.” Later, Köhler was an exchange
student in the USA, and after his school
graduation he studied Art in France. It was
there that he first discovered his love of the
cinema: “Until then I hadn’t had a cinephile
background, I came from a small town with-
out a cinema, and my parents had gotten rid
of the TV for educational reasons. Reading
was the only thing left.”
9
DIRECTOR’S PORTRAIT GFQ 2-2018
WORKING
© Stefan Klüter
PARTNERSHIPS
A PORTRAIT OF DIRECTOR INA WEISSE
T
elevision audiences are sure to have of shorts, the debut feature THE ARCHITECT, She also acquired her first taste of directing
come across Ina Weisse in episodes a documentary on the Neue Nationalgalerie, when attending the Waldorf school in Zehlen-
of the TATORT or POLIZEIRUF crime and a second feature – DAS VORSPIEL – set dorf “where I had plenty of practice of both
series or the award-winning TV film to go into production this autumn. acting as well as taking on the role of the
THE END OF A NIGHT, which garnered her a director. It was always part of the same thing
German Television Award, Grimme Prize and “I had made short films as a child together for me, never a case of either one or the
Günter Rohrbach Award for her acting per- with my father during the school holidays,“ other.“
formances. In addition, she has appeared in Weisse recalls. “My father was a passionate
numerous German feature films over more filmmaker with his 8mm camera – the films Weisse had also caught the acting bug at an
than 20 years, from REAL GUYS through he made about the time working with Mies early age after going to the Schaubühne
SAMS IN DANGER to NOTHING BUT GHOSTS van der Rohe appear in my documentary on theater on Berlin’s Kurfürstendamm: “I was
and, most recently, Florian Henckel von the Neue Nationalgalerie – and so it was especially fascinated by the work of Klaus
Donnersmarck’s latest film, WORK WITHOUT only natural for me to want to work with the Michael Grüber and the way he treated time
AUTHOR. visual medium. What’s more, I was an avid in a production like An der Grossen Strasse.
cinema-goer as a child and would regularly I saw people on stage working with text in
But what many cinema-goers and TV viewers go to the [now closed] Studio Cinema at plays like The Three Sisters in the staging by
might not be aware of is that Ina Weisse Adenauerplatz as well as the Bali in Zehlen- Peter Stein and knew that this is what I also
has cultivated another string to her bow as dorf.“ wanted to do.”
a screenwriter and director with a handful
10GFQ 2-2018 DIRECTOR’S PORTRAIT
So, at the tender age of 18, she applied
and was accepted for a place at the highly
respected Otto Falkenburg drama school in
Munich. After graduation, Weisse then ap-
peared on stage in the Bavarian capital’s
Kammerspiele and as a permanent member
of the theater company at the Nationaltheater
in Mannheim.
But, Weisse admits that at some point she felt
confined by being part of a theater company’s
ensemble and decided to quit to study Phil-
osophy at the University of Heidelberg. Since
then, she has never returned to act on the
stage and has instead concentrated her work
as an actor on roles for film and television.
Meanwhile, her aspirations to become a
director behind the camera came one step
further when she was accepted for the Direct-
ing course at the University of Hamburg
under the direction of filmmaker Hark Bohm
in 2000.
“I had already tried my hand at making shorts with such credits as the documentary MAKE- in the 1960s, as well as with van der Rohe’s
in the past, but it had always been a plan of UP and the fiction feature MADRID. “We met grandson Dirk Lohan and the architect David
mine to go to film school to learn the craft on through a common friend and it didn’t take Chipperfield, who is overseeing the gallery’s
a daily basis over two years,“ she explains. long before we knew that we were on the renovation.
“It was a great experience and preparation for same wavelength and shared similar inte-
what I wanted to do later on.“ rests,“ she recalls. “That makes things so Since the film is being planned as a German-
much easier when you know that both of you French co-production with Pierre-Olivier
Indeed, Weisse made an impact with her are thinking in the same direction. I like work- Bardet’s Idéale Audience, it was fortuitous
graduation film ALLES ANDERS – “about ing with a co-author because there’s the that von Boehm had grown up in France and
identity and betrayal“ – which won the First danger of just going around in circles when can speak French fluently. “Felix is brimming
Steps Award in 2002. And it was this film you are writing alone. Of course, there are with energy and full of ideas which is really
which caught the attention of Wim Wenders times when you have to work on your own on quite refreshing,“ Weisse continues. “And he
who recommended Weisse as a highly pro- a screenplay, but I like this kind of working was the one who introduced me to Margaret
mising talent to his then partner at Reverse partnership.“ Ménégoz who is set to handle the distribution
Angle Pictures, Peter Schwarzkopff, to work of the film in France.“
together on her feature debut. In fact, the collaboration went so well be-
tween Weisse and Charizani that they have Raising the finance for the film wasn’t a
The result in 2008 was THE ARCHITECT which been working together on her second feature walk in the park, she admits, but Medien-
premiered at the Hof International Film film project, DAS VORSPIEL, which will see board Berlin-Brandenburg, the FFA-CNC
Festival that autumn and was screened the Nina Hoss cast as a violin teacher in conflict „Mini-traité“ and broadcaster ZDF are already
following year at the Filmfestival Max Ophüls with her profession. onboard, and other partners are now likely to
Preis in Saarbrücken and in the German follow to close the financing so that principal
Cinema sidebar at the Berlinale. “Music played an important role in THE AR- photography can begin this October in Berlin.
CHITECT and it will be at the center of my new
Weisse succeeded in attracting an impressive project,“ Weisse explains. “What fascinates Martin Blaney
line-up for the cast with Bavarian actor Josef me is the process of how music is created.
Bierbichler as the title character, with Belgian The husband of Nina Hoss’ character is a
actress Hilde van Mieghem as his wife, violin maker, so this will be an opportunity to
Sophie Rois as a former flame, and Sandra show how sounds evolve.“
Hüller and Matthias Schweighöfer playing the
couple’s grown-up children. DAS VORSPIEL is being produced by the up-
and-coming producer Felix von Boehm’s
In the film, Bierbichler as the successful Berlin/Heidelberg-based company Lupa Film,
Hamburg architect Georg Winter travels with whose recent credits include Karim Ainouz’s
his family to a snowy mountain village for his award-winning documentary CENTRAL AIR-
mother’s funeral. An encounter with Rois’ PORT THF and Joya Thome’s debut THE
character and her son Alex at the funeral QUEEN OF NIENDORF.
ceremony drags the family into a vortex of
desires and confusion of which there is no Weisse had previously worked with von
escape when the village is cut off from the Boehm, who is the son of the TV presenter
outside world by an avalanche... Gero von Boehm, on her documentary DIE
NEUE NATIONALGALERIE which included in-
This debut marked her first collaboration terviews with her father Rolf Weisse, who had
with the Greek-born screenwriter Daphne worked at the office of Mies van der Rohe in
Charizani who is a director in her own right Chicago during the planning of the art gallery
11PRODUCERS’ PORTRAIT GFQ 2-2018
Rafael Parente, Korbinian Dufter, Simon Amberger (© Andreas Pfohl)
TEAM SPIRIT
A PORTRAIT OF PRODUCTION COMPANY NEUESUPER
“
W
e have always liked to gone in the direction of arthouse. As in the August 2014 and the audience voted on its
work as a team,” says collaboration with the latest feature film by favorite of the three, with the overall winner
Rafael Parente, one of the Hans Weingartner, 303, which had its world getting the commission to produce a whole
three producers along premiere in the Berlinale’s Generation 14plus series.”
with Simon Amberger and Korbinian Dufter, section in February. We will always search
who set up the Munich-based NEUESUPER for both things: relevant content and an NEUESUPER’s pilot of what later became the
Filmproduktion during their studies at audience. That’s why we’re so enthusiastic quirky sitcom BLOCKBUSTAZ about an un-
Munich’s University of Television & Film about the current momentum in television employed rapper (played by Eko Fresh) in a
(HFF) in 2010. industry.” Cologne high-rise housing estate went down
a storm with the ZDFneo audience and paved
Even before their graduation from the HFF, The young company – which also works for the way for the company’s subsequent deve-
the trio had produced several short films clients in the advertising world as well for lopment as a purveyor of high-end television.
such as Benjamin Pfohl’s TOTES LAND and cinema and TV – did the rounds of the offices
Susan Gordanshekan’s EISBLUMEN as well of TV commissioning editors with story ideas “I think it was a good fortune for us as a young
as a couple of feature films – ADA by Mirjam for series and TV movies, but that all impor- company that the viewers were the ones
Orthen and the international co-production tant green light to go into production wasn’t deciding on the winner,” Dufter says. “It
EASTALGIA by Daria Onyshchenko. forthcoming. However, the newcomers had was much easier than having to follow the
their lucky break into the TV market when classical path of needing to convince a
“And from the outset, we thought that it would they pitched an idea for a sitcom series to the commissioning editor as newcomers to the
be better to work as three producers together fledgling public channel ZDFneo as part of its industry. The audience made it very clear that
rather each of us trying to make it on our TV Lab in 2014. “The three finalists from the they wanted to see a series based on the pilot
own,” Amberger recalls. “We were also very pitches were each given a budget to produce and we received five times as many votes as
clear in our minds of the goal of wanting to a pilot episode of their series,” Amberger ex- the next finalist,” he continues. “The pilot
make films for a wide audience,” Korbinian plains. “The pilots were then broadcast by fitted in with the image ZDFneo was wanting
Dufter adds. “With some of our films, we have ZDFneo over the course of one evening in to promote and our success was also partly
12GFQ 2-2018 PRODUCERS’ PORTRAIT
down to our strategy of using YouTube stars on the series,” Dufter explains. “With some- in the making, LUDEN (HAMBURG HUST-
like Eko Fresh and Joyce Ilg who already have one like Stefan Ruzowitzky [who received the LING), with Jan Mojto’s Beta Film as co-pro-
their own fan base.” Foreign Language Film Oscar® for THE ducer. Meanwhile, writer-director Kocyla,
COUNTERFEITERS], we brought someone on- who is also a graduate of Munich’s HFF and
Aired in 2015, the six-part series proved to be board who has lots of knowledge of working worked in the past on scripts for the ZDF se-
one of the most successful series ever com- on TV series and also is adept at directing ries DIE CHEFIN, devised the concept and
missioned by ZDFneo and prompted the action. And he has a reputation and standing penned the scripts for EIGHT DAYS.
broadcaster to order a second season – this recognized by the broadcasters. At the same
time with 12 episodes – which came on air at time, we wanted to have a young voice being “Our core team of writers is very open to the
the end of March 2018. represented here, a filmmaker from our idea of working in a writers room,” Dufter
generation at the HFF,” he continues. “So we says. “Previously, you would have an author
Another pitching competition organized picked Michael Krummenacher who studied working all alone and then getting occasional
by Bavarian Television (BR) and the HFF – Directing at the HFF in Munich from 2006 to feedback from the producer or a commission-
“Free TV!” in autumn 2014 – landed the 2014.” EIGHT DAYS is set to air in Germany, ing editor. However, our strategy is to involve
producing trio their next big commission – for Switzerland and Austria later in 2018. our authors increasingly in the decision-mak-
HINDAFING, although their proposal was not ing process about, say, the casting or the
the final winner! The past seven years have seen NEUE- choice of director. I think they can have a re-
SUPER’s producing trio evolving and adapting ally positive influence because they are so
“Reinhard Scolik, Bettina Ricklefs and Elmar as its production output expanded. “At the be- close to the story.”
Jaeger at BR recognized the series’ potential ginning, we developed, financed and produced
and said what we had shown in a specially the projects together, but with time, we realiz- NEUESUPER may be focused on working for
produced trailer would be a perfect fit for ed that things would be more efficient if each television for the moment, but that doesn’t
Bavaria right down to the story and the actors one of us had specific responsibilities,” ex- mean that they have turned their backs on ci-
we had cast,” Parente recalls. This satirical plains Dufter who, for example, now oversees nema – indeed, a number of feature film pro-
six-parter about a crystal meth-addicted the company’s day-to-day administration and jects are in development. “At the same time,
mayor (played with relish by former European the financing of the projects as well as per- we have developed considerable expertise in
Shooting Star Maximilian Brückner) in a sonnel issues. high-end TV and have an edge over other
Bavarian backwoods was “something fresh companies,” Amberger explains. “We all
and new, unlike any other Bavarian series “We have always seen NEUESUPER as a share a great passion about staying active in
being shown on television at the time.” vehicle to realize story ideas that we had de- this particularly exciting segment for the fore-
veloped ourselves,” he notes. “We see our- seeable future.”
“It was also important for us as a company at selves as creative producers working
the time that we had people who supported together in a team with the creatives: we are Martin Blaney
us and believed in the potential of our pro- as much involved in helping to develop the
jects,” Dufter notes. screenplays for the shorts at the beginning of
the company’s history as in brainstorming
Airing on BR from mid-May last year after ideas for the pitches to advertising clients or
premiering on the web (br.de/hindafing) and to broadcasters.”
in BR’s online mediatheque, HINDAFING has
since gone on to garner nominations from the “Our goal is to be involved creatively from the
prestigious Grimme Institute and the German earliest stages of our projects,” Amberger
Academy for Television. In addition, the SVOD says, pointing out that NEUESUPER is always
rights for Germany were sold last autumn to open to becoming a production partner on
Netflix and the US remake rights to the series third party projects. From the outset, the trio
were snatched up by Fox 21 Television at the have sought to foster long-standing working
beginning of this year. “We are now in talks to relationships, particularly with screenwriters,
produce a second season of HINDAFING,” to collaborate on their projects, like Niklas
Amberger adds. Hoffmann, Peter Kocyla, Benjamin Seiler,
Frederick Schlofield and writer-directors like
As HINDAFING went on air, NEUESUPER Boris Kunz, Jakob Lass and Jakob Erwa.
embarked on production of its third series
project, EIGHT DAYS (ACHT TAGE) – this time Niklas Hoffmann, for example, has worked
as a commission for the pay TV platform Sky with NEUESUPER since 2014 as he studied
Deutschland. “We had been developing the Screenwriting at the HFF: he wrote the
project for some time and at a point when Sky screenplay for the pilot for BLOCKBUSTAZ
hadn’t yet decided to begin getting involved in and then wrote three episodes of the re-
co-producing local TV series,” Amberger re- sulting series as well as serving as head
calls. “Sky really put their trust in us and be- writer for the sitcom. In addition, Hoffmann
lieved that we would be able to tackle such an devised the concept and script for
ambitious project as EIGHT DAYS,” he con- HINDAFING together with Boris Kunz and
tinues. “This production was another signifi- NEUESUPER producer Rafael Parente and
cant step, both in terms of budget and returned to BLOCKBUSTAZ last year for
production value for us as a company.” its second season where he penned four
episodes and was responsible again as head
The doomsday scenario focuses on what will writer.
probably be the last days of humanity as a
giant asteroid rushes towards Earth. “It was He is now working with Parente and another
also a conscious move by us to have an ex- NEUESUPER “regular”, Peter Kocyla, on de-
perienced director working with a young one veloping the screenplay for another TV series
13ACTOR'S PORTRAIT GFQ 2-2018
E X P LO R I N G
I N N E R WO R L DS
A PORTRAIT OF ACTOR
GODEHARD GIESE
© Giovanni De Francesco
14GFQ 2-2018 ACTOR'S PORTRAIT
Sebastian Fräsdorf Godehard Giese
Alice Pehlivanyan Karin Hanczewski
William Peiro
Summers
Downstairs
COPYRIGHT © 2015 OSIRIS MEDIA GMBH / OSIRIS MEDIA FRANCE S.A.S.U. GESTALTUNG © IVY KUNZE
ARRI WORLDSALES UND KINOSTAR FILMVERLEIH PRÄSENTIEREN EINE PRODUKTION DER OSIRIS MEDIA GMBH UND DER OSIRIS MEDIA FRANCE S.A.S.U.
GEFÖRDERT DURCH DAS DÉPARTEMENT CHARENTE-MARITIME UND DER RÉGION POITOU-CHARENTES, IN ZUSAMMENARBEIT MIT DEM CNC A FILM BY
JULES HERRMANN “LIEBMANN” STARRING GODEHARD GIESE, ADELINE MOREAU, FABIEN ARA, BETTINA GRAHS
SEBASTIAN FRÄSDORF, KARIN HANCZEWSKI, ALICE PEHLIVANYAN, GODEHARD GIESE, WILLIAM PEIRO, BILDGESTALTUNG WILLI BÖHM, MONTAGE ANNA KAPPELMANN, SOUND RECORDIST TOBIAS RÜTHER SOUND DESIGN MICHAŁ KRAJCZOK MUSIC BY CHRISTIAN HALTEN, ZAAL33, SEBASTIAN KIEFER PRODUCTION DESIGN NICOLA MINSSEN ASSISTANT DIRECTOR SARAH DRATH
SZENENBILD BABETT KLIMMECK, ORIGINALTON PHILIPPE BOUCHEZ, SOUNDDESIGN IVAN BROUSSEGOUTTE, MISCHUNG MARVIN H. KEIL, JULES HERRMANN DIRECTOR OF PHOTOGRAPHY SEBASTIAN EGERT WORLD SALES PATRA SPANOU PRODUCED BY JULES HERRMANN, ROSWITHA ESTER, TORSTEN REGLIN
EDITED BY
CASTING UWE BÜNKER UND NATHALIE CHÉRON, DREHBUCH UND REGIE TOM SOMMERLATTE, PRODUZENTIN IRIS SOMMERLATTE
www.liebmann-film.de
G
odehard Giese is relaxing in That lecturer has been proven wrong. In has helped him here. His directing debut,
Rome during our Skype con- 2005 Giese caught the attention of Jules THE STORY OF THE ASTRONAUT, received an
versation. It’s a sunny spring Herrmann, who cast him in her film award at the festival Achtung Berlin in 2014
morning and the actor with the academy graduation film. This marked the (where he also won the prize for Best Actor
sharp, lucid eyes is quite laid-back as he sips start of Giese’s film career. He has continued in 2015 for his role in SUMMERS DOWN-
his coffee. to collaborate with Herrmann to the present STAIRS). “The fact that I made my own film
day. In her feature film debut LIEBMANN in has helped me to gain an outside impression
Giese is taking a break. Which is surely a 2016, he played the role of a German teacher of myself as an actor.”
good thing, as he has been extremely busy who is spending the summer in a French vil-
in recent years. In February, he was in the lage, hoping to come to terms with a recent Giese is especially enthusiastic about the at-
Berlinale competition with TRANSIT, the re- traumatic event. The film premiered at the mosphere during the filming of Petzold’s
fugee drama shot by Christian Petzold in 2016 Berlinale in the section Perspektive TRANSIT in Marseille and the way in which
Marseille and since fêted by the critics. Deutsches Kino, and after an international the city and its architecture influenced his
He also acted in Wim Wenders’ SUB- festival tour it was nominated for the Euro- character. “I make an attempt to lay out my
MERGENCE, which was shown in Toronto in pean Film Award in the Discovery category. character’s inner, mental world. And exter-
2017, and in A CURE FOR WELLNESS under Tom Sommerlatte’s comedy SUMMERS nal influences always help to shape it.” As an
the direction of Gore Verbinski. He can be DOWNSTAIRS, in which Giese also plays a actor, he visualizes this mental space once
spotted in all the important quality German man spending the summer holidays in again in the external world – “it’s the same
TV series, as well: in BABYLON BERLIN by France, followed the same route a year be- in my own film, THE STORY OF THE ASTRO-
Tom Tykwer, Henk Handloegten and Achim fore. NAUT, when a woman writer’s mental world
von Borries, DAS VERSCHWINDEN by Hans- is projected onto the landscape of Mallorca.”
Christian Schmid, THE SAME SKY by Oliver Giese’s Liebmann is a fascinating character, In this way Giese expands on his characters’
Hirschbiegel, and the series DEUTSCHLAND damaged and yet self-righteous, who wears inner worlds, translating them into an
83 produced by Nico Hofmann. protective armour but is filled with sexual extremely physical and yet intimate style of
energy, nonetheless. “For me, LIEBMANN is acting.
But his love of Italy is even older than his a special film. We had the complex idea for
acting career. Giese, born in 1972, first a character but there was no screenplay, just What other colleagues have inspired him
studied Italian at the Humboldt University in an outline.” A huge set like that of BABYLON during this process? “Recently, I have been
Berlin – arriving at acting as an indirect re- BERLIN and the intimate and improvised most impressed by Jean-Pierre Léaud in
sult. “One professor of Italian staged theater filming of LIEBMANN may be worlds apart, THE DEATH OF LOUIS XIV. He is one of my
plays with her students. I took part in them but such differences are what attract Giese: great heroes anyway, just like Albert Finney.
and immediately I knew: this is exactly what “It’s important to stay alert in the actor’s He’s not afraid to make himself ridiculous.”
I want to do.” profession, so that you can react directly. You And there is one more, or perhaps two:
don’t have more than a moment. So you need “Naturally, there is something about Mar-
At the age of twenty-four he applied to the to engage with the material. That’s why I cello Mastroianni’s elegance as well. And
Acting class at the Berlin University of the take on many different projects, so that I Gian Maria Volonté. He gives his characters
Arts, where he studied from 1997 to 2001. don’t slip into a routine.” immense clarity with his strength and
After completing his training he spent two serenity.” Did he think of them because he
years at the theater in Hildesheim. Giese In our conversation, Giese returns again and happens to be in Rome at the moment?
was not even considering film at that stage, again to the process of shooting. Acting for Smiling, he adds: “It’s my Italian side coming
as he tells me amidst some laughter: him means preparing well, so that at the out, I suppose.”
“My lecturer at acting school said I wasn’t moment of recording he is able to let go, to
compatible with film work. He advised me allow himself to be challenged, “to be cata- Philipp Stadelmaier
against it.” pulted into a state of excitement that is truly
wonderful”. His own experience as a director
26 15NEWS & NOTES GFQ 2-2018
NEWS & NOTES
1
1
Opening night guests at KINO! 2018 (© Alberto Reyes)
1
1
KINO! 2018: GERMAN FILMS IN THE BIG APPLE
GDR history, warring banks or bar talks – the fessor Noah Isenberg and organized by the professor at Columbia University and a film
fifth edition of KINO!2018 Festival of German Deutsches Haus at NYU. producer, introduced the film. The VoD ser-
Films in New York (6 – 12 April 2018) was vice Fandor was the exclusive partner of the
held for the first time in New York’s latest The supporting program included a round- KINO! Audience Award for the third year in a
“state of the art” (Deadline) arthouse cinema table talk on “FRAUEN POWER: German row and created a curated online program of
Landmark at 57 West. Nine new productions, Women Filmmakers Making Their Mark”. German “Festival Favorites” for U.S. online
a silent film and the NEXT GENERATION Lisa Blumenberg and Désirée Nosbusch viewers.
SHORT TIGER 2017 program of shorts were took part along with Marieke Schroeder, the
presented by seven guests. director of BAR TALKS BY SCHUMANN. This year’s Audience Award went to the
She was joined by the film’s charismatic series BAD BANKS, which is available in
The screening of IN TIMES OF FADING LIGHT protagonist, the bartending institution the U.S. on Hulu.
followed by a Q&A with the director Matti Charles Schumann, for a Q&A. In addition,
Geschonneck opened the festival and was director Nick Baker-Monteys answered the
very well received. Directed by Christian audience’s questions about THE FINAL
Schwochow, the first two episodes of the JOURNEY.
series BAD BANKS, were shown in the atten-
dance of producer Lisa Blumenberg and Connoisseurs of German film classics loved
actress Désirée Nosbusch. WHEN PAUL the silent film VARIETÉ by Ewald André
CAME OVER THE SEA, which was named Dupont presented in cooperation with
Best Documentary at the Shanghai Inter- Bertelsmann. The live musical accompani-
national Film Festival, was presented by ment was provided by the pianist and
director Jakob Preuss, who also took part in multi-instrumentalist Stephen Horne and
a packed panel discussion moderated by Pro- percussionist Martin Pyne. Ira Deutchman, a
16GFQ 2-2018 NEWS & NOTES
2 3
© FFF Bayern Peter Dinges, Christine Berg, Monika Grütters, Bernd Neumann, Frank Völkert (© Ulf Büschleb)
2 3
FFF WRITERS‘ DELEGATION HAPPY BIRTHDAY FFA:
AT SXSW 50 YEARS OF FILM FUNDING
With support from FilmFernsehFonds On 6 March 1968, the German Federal Film The German Federal Film Board celebrated
Bayern, a delegation of Bavarian writers par- Board (FFA) was established in Berlin – and this milestone anniversary with a gala on 6
ticipated at this year’s SXSW Conferences & five decades later, in 2018, it is celebrating March 2018 in Berlin with some 500 guests
Festival in Austin, Texas. The trip signals FFF it’s 50th birthday. And the anniversary also from the film industry, funding, politics and
Bayern’s aim to strengthen its support for represents half a century of German film culture. On the occasion of the event, Bernd
screenwriters and further develop its inter- history. Supported film classics, which are Neumann, president of the German Federal
national activities and networks. exemplary for the quality and diversity of Film Board, emphasized the fact that “it is
German filmmaking, include Rainer Werner also the Film Board’s task for the future to
Five writers participated in the Writers’ Fassbinder’s THE MARRIAGE OF MARIA protect, strengthen and maintain the exi-
Delegation: Natalie Spinell, Andy Wolff, BRAUN, Volker Schlöndorff’s THE TIN stence of a cinematic culture,” and confirmed
Niklas Hoffmann, Christian Lex and Anne DRUM, Wolfgang Petersen’s THE BOAT, Wim the importance of the cinema as a premium
Keßel. Two mentors – Egbert van Wyngaar- Wender’s PARIS, TEXAS, Caroline Link’s location, even in times of new digital media.
den and Philipp Schall – from Transmedia NOWHERE IN AFRICA, and Tom Tykwer’s State Minister for Culture Monika Grütters
Bayern, which also offered financial support RUN LOLA RUN. Over the course of the last congratulated the Film Board as an “interna-
to the delegation, accompanied the group 50 years, the German Federal Film Board has tionally unique levy-based film funding,
and the FFF funding executive Lisa Giehl. awarded over 1.6 billion euros in funding which is sustained by a sense of solidarity”
support for production (for some 4,000 fea- and honored the funding institution as an “in-
The Writers’ Delegation program gave the ture films and 1,000 screenplays), distribu- dispensable partner for film policy.”
writers access to numerous events at SXSW tion and film theaters. In addition to its task
concentrating on storytelling, artificial intel- as a funding institution, the German Federal
ligence and digital content, as well as a Film Board also acts as a central service pro-
Bavaria-Québec Dinner sponsored by FFF vider for the entire German film industry and
Bayern, the Representation of the Québec as a moderator for the future challenges of
Government, and the Representation of the the film industry.
Free State of Bavaria in Québec.
17NEWS & NOTES GFQ 2-2018
4 6
IN THE AISLES (© Sommerhaus Filmproduktion/Anke Neugebauer) FEST (© Nikita Diakur)
4 5 6
IN THE AISLES WITH MFG BADEN- DIANE KRUGER SHOOTING SHORT GERMAN ANIMATIONS
WÜRTTEMBERG AGAIN IN NRW IN ANNECY
After her leading role in Maren Ade’s world- For her role in Fatih Akin’s Golden Globe- In 2018, a line-up of ten German animated
wide hit TONI ERDMANN, Sandra Hüller re- winner IN THE FADE, Diane Kruger was short films, commissioned films and TV
turns in Thomas Stuber’s latest feature IN awarded the Best Actress prize at the series will be presented in the official selec-
THE AISLES, alongside European Shooting Festival de Cannes in 2017. And once again, tion of the Festival International du Film
Star Franz Rogowski (VICTORIA) and Peter she will soon be shooting in North Rhine- d’Animation in Annecy (11-16 June 2018),
Kurth (BABYLON BERLIN) to form a top- Westphalia for a new feature supported by which is one of the most important festivals
class cast. The three actors play out Clemens the Filmstiftung NRW and the Israel Film for animated film worldwide. With NOT MY
Meyer’s story about three co-workers at a Fund, taking on the leading role in Israeli TYPE (DE/CH) by Gerd Gockell and FEST by
supermarket. Christian (Rogowski) is the director Yuval Adler’s upcoming film THE Nikita Diakur, there are two German ani-
new guy and in charge of stocking the OPERATIVE. A large part of the principle pho- mated short films competing for the Cristal
shelves. Bruno (Kurth) is his colleague in the tography will be taking place in NRW and the d’Annecy in the International Competition.
beverage section and acts as a father figure, film is being co-produced by Michael Weber ANT by Julia Ocker and LINK by Robert Löbel
taking him under his wing and teaching him and Viola Fügen of the Cologne-based Match were selected for the section Short Films
all the tricks. Marion (Hüller) works in the Factory Productions. Young Audiences. Another five German
next aisle and, although she is actually shorts have been invited to the competition
married (to a thug, no less), she takes a shine In the thriller, Kruger portrays a young for graduation films: AUGENBLICKE by Kiana
to Christian. Despite all odds, they offer each British woman who is recruited by the Israeli Naghshineh, FOLLOWER by Jonathan Behr,
other support in life; a life which outside of secret service Mossad for a covert mission in FUSE by Shadi Adib, LOVE ME, FEAR ME by
the supermarket seems to be almost un- Tehran. Director Yuval Adler won the main Veronica Solomon, and NOSIS by Vincenz
bearable. But inside, it’s their own little prize of the Venice Days in 2013 for his poli- Neuhaus. Furthermore, 32-RBIT by Victor
world. tical drama BETHLEHEM. Orozco Ramirez (DE/MX) is shortlisted for the
Perspectives Short Films in Competition.
MFG Baden-Württemberg, together with
Mitteldeutsche Medienförderung, BKM, Once again, both AG Kurzfilm (German Short
Medienboard Berlin-Brandenburg, and the Film Association) and German Films will
6
German Federal Film Fund supported the
film produced by the Ludwigsburg-based
attend the festival’s film market MIFA and
provide the international film scene and
Sommerhaus Filmproduktion, in cooperation
with the broadcasters MDR, ARTE, SWR and
HR, and co-produced with Departures Film
5 visitors with useful information and contacts
regarding the range of German filmmakers
and their animated films. A preview DVD with
and Rotor Film. The film was shot in part in recent German animated short films will
Karlsruhe and took home two independent also be available at the booth in Annecy
film prizes from the Berlinale: the German addressing festival representatives, curators,
Film Guild Award and Ecumenical Jury interested participants and buyers. Apart
Award. from this, the DVD is also available upon
request from the office of AG Kurzfilm in
Dresden.
Diane Kruger (© Filmstiftung NRW/Hubert Bösl)
18GFQ 2-2018 NEWS & NOTES
7 8 9
© AG Kurzfilm Fatih Akin, Diane Kruger, Denis Moschitto (courtesy of Bitters End)
7 8 9
GERMAN SHORT FILMS IN CANNES INDUSTRY SCREENINGS IN TOKYO GERMAN FILM FESTIVAL
DOWN UNDER
Once again AG Kurzfilm (German Short Film For the third time, German Films organized
Association) and German Films offer a industry screenings in Tokyo presenting German Films has partnered the German
platform for German short films and short seven new German films to Japanese distri- Film Festival in Australia for more than a
filmmakers during the 71th edition of the butors over the course of two days in March. decade. This year the event is organized
Festival de Cannes. As every year, some of As Japanese audiences have a particularly by the well-established Palace Cinemas
the most recent short film productions are strong interest in historic and cultural issues, who are the traditional organizers of other
available at the Short Film Corner for inter- the Tokyo screenings aimed to widen this national film events (for French, Brazilian
national industry professionals. The selec- perspective by offering genre films like and Italian cinema) and who hired project
tion German Short Films – Cannes Edition THIS CRAZY HEART, HANNA’S HOMECOMING manager Bettina Kinski to supervise the
2018 containing eight current short films will and the animated MANU THE SWIFT at the German Film Festival 2018, which will take
be available at the Short Film Corner and on Nippon Film Art Cinema. Seven sales com- place in five cities (Sydney, Canberra,
DVD at the German Pavilion. panies (ARRI Media International, Beta Melbourne, Brisbane, and Adelaide) and
Cinema, Global Screen, Picture Tree Inter- will include a program of 26 films as well
Additionally, for the eighth time, the program national, Sola Media, The Match Factory, and as the short film program SHORT EXPORT
NEXT GENERATION SHORT TIGER celebrates Films Boutique) joined the event to present 2018. Opening film of the event in Sydney
its premiere in Cannes. It features not only upcoming films to Japanese buyers and en- on May 22nd will be Lars Kraume’s
film school productions but also the winners force their network in Japan, a country which recent Berlinale-contribution THE SILENT
of the 2018 Short Tiger Award granted by the is one of the strongest markets in Asia. REVOLUTION; other films in the program
German Federal Film Board. Upon request, German Films also took the opportunity to include further festival successes such as
all films will be available on preview DVDs present the Distribution Support scheme to THREE PEAKS, PAULA and 303 by Hans
from German Films or AG Kurzfilm. Japanese buyers and inform them of up- Weingartner, as well as the FACK JU GOEHTE
coming films as well as discussing a future trilogy. As partner of the event, the Goethe-
In cooperation with ARTE, the German Short cooperation with the Tokyo International Film Institut offers young audiences the pos-
Film Association invites professionals from Festival whose Artistic Director, Yoshi Yatabe, sibility to see six new films from Germany,
the German and international short film invited the delegation for a casual dinner in including AT EYE LEVEL and ROBBY &
scene to their annual Short Film Lounge, a typical Japanese location. TOBY’S FANTASTIC VOYAGER. Closing film of
giving filmmakers, festival representatives the festival 2018 will be the restored version
and buyers the opportunity to meet and con- The highlight of the Tokyo Screenings was of Wim Wenders’ WINGS OF DESIRE.
nect. During the festival in Cannes, please the Japanese premiere of IN THE FADE in the
contact us at the German Pavilion, Inter- presence of director Fatih Akin, and actors
national Village. Diane Kruger and Denis Moschitto at the
Human Trust Cinema Shibuya. The film
tallied 5,200 admissions on the first week-
end.
19NEW FILMS GFQ 2-2018
11 FEATURES
2 DOCUMENTARIES
3 SHORT FILMS
14 UPCOMING FILMS
30 more new German productions are presented
on the following 19 pages. Please visit
our website www.german-films.de
for more information on German features,
documentaries and shorts.
SCHWIMMEN (© Paul Nungeßer)
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