GFQGERMAN FILMS QUARTERLY - THE BERLINALE ISSUE NEW GERMAN FILMS AT THE BERLINALE
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GFQ
G E R M A N F I L M S Q U A R T E RLY
THE BERLINALE ISSUE
ISSUE 1-2019
NEW GERMAN FILMS AT THE BERLINALE
SHOOTING STAR Emma Drogunova
DIRECTORS Katrin Gebbe & Bastian Günther
PRODUCERS Grown Up Films
GFQ 1-2019 CONTENTS
IN
BERLINALE
THIS ISSUE
LYSIS Rick Ostermann ..................................................................... 41
DER GOLDENE HANDSCHUH SWEETHEARTS Karoline Herfurth ................................................. 42
THE GOLDEN GLOVE Fatih Akin ..................................................... 4
UNHEIMLICH PERFEKTE FREUNDE DOUBLE TROUBLE –
ICH WAR ZUHAUSE, ABER … THE MAGICAL MIRROR Marcus H. Rosenmüller .......................... 43
I WAS AT HOME, BUT… Angela Schanelec ...................................... 5
DER VORNAME HOW ABOUT ADOLF? Sönke Wortmann ............... 44
SYSTEMSPRENGER
SYSTEM CRASHER Nora Fingscheidt .............................................. 6 NEW D OCUM ENTARIES
UMBRA Florian Fischer, Johannes Krell ........................................ 7 GERMANIA Lion Bischoff .......................................................... 45
ALL MY LOVING Edward Berger ....................................................... 8 GRENZENLOS – GESCHICHTEN VON FREIHEIT & FREUNDSCHAFT
BEYOND BORDERS – STORIES OF FREEDOM & FRIENDSHIP
O BEAUTIFUL NIGHT Xaver Böhm ................................................... 9 Johanna Bentz, Sandra Dajani, Madeleine Dallmeyer, Nazgol Emami,
Khaled Nawal, Diana Menestrey, Camilo Colmenares ................... 45
ARMED LULLABY Yana Ugrekhelidze ............................................ 10
ICH BIN ANASTASIA I AM ANASTASIA Thomas Ladenburger ....... 46
BERLIN BOUNCER David Dietl ......................................................... 11
DUST Udita Bhargava ...................................................................... 12 DER ILLEGALE FILM
THE ILLEGAL FILM Martin Baer, Claus Wischmann ...................... 46
DIE EINZELTEILE DER LIEBE
THE COMPONENTS OF LOVE Miriam Bliese ................................. 13 IN SEARCH… Beryl Magoko .......................................................... 47
DIE GRUBE THE PIT Hristiana Raykova .......................................... 14 JOY IN IRAN Walter Steffen ............................................................ 47
DAS INNERE LEUCHTEN THE INNER Stefan Sick .......................... 15 PLAYLAND USA Benjamin Schindler ............................................. 48
OFF SEASON Henning Beckhoff .................................................... 16 SCALA ADIEU – VON WINDELN VERWEHT
SCALA ADIEU Douglas Wolfsperger ............................................... 48
BRECHT Heinrich Breloer ................................................................ 17
STRESS Florian Baron ................................................................... 49
P O R T R A I TS
UNSER STEIN OUR STONE Alessandro Soetje ................................ 49
REALIZING HER DREAM
A portrait of actress Emma Drogunova ........................................ 18 UNZERTRENNLICH INSEPARABLE Frauke Lodders ...................... 50
DOING HER OWN THING NEW SHORTS
A portrait of director Katrin Gebbe ................................................. 20
DIE BEERDIGUNGSTÄNZERIN
CURIOSITY AND CHALLENGE THE FUNERAL DANCER Natalie MacMahon ................................. 51
A portrait of director Bastian Günther ............................................ 22
JAMIL Michele Gentile .................................................................... 51
SETTING HIGH STANDARDS
A portrait of production company Grown Up Films ........................ 24 UPCOM ING F ILM S
NEWS & NOTES ................................................................................ 26 8 TAGE Stefan Ruzowitzky, Michael Krummenacher .................... 52
N E W F E ATU R E S BODY OF TRUTH Evelyn Schels ....................................................... 52
1000 KÖNIGE 1000 KINGS Bidzina Kanchaveli .............................. 31 DER CLUB DER SINGENDEN METZGER Uli Edel .......................... 52
ALFONS ZITTERBACKE – DAS CHAOS IST ZURÜCK DER FALL COLLINI Marco Kreuzpaintner ...................................... 53
ALFONS ZITTERBACKE – THE RETURN OF CHAOS
Mark Schlichter ............................................................................... 32 HANNES Hans Steinbichler ............................................................ 53
ALL EYES ON YOU Felix Maxim Eller ............................................. 33 DAS HAUS Tatjana Kononenko, Matilda Mester ............................. 53
BECAUSE WE DREAMT OF FLYING Lillian Loveday Erlinger ....... 34 HAVEN – ABOVE SKY Tim Fehlbaum ............................................ 54
EXTREME NUMBER Irina Arms ..................................................... 35 NÖ Dietrich Brüggemann .............................................................. 54
FÜNF DINGE, DIE ICH NICHT VERSTEHE RETTET DAS FEUER Jasco Viefhues ............................................. 54
THINGS I DON’T GET Henning Beckhoff ....................................... 36
SPIDES Rainer Matsutani ................................................................ 55
IMMENHOF – DAS ABENTEUER EINES SOMMERS
IMMENHOF – THE ADVENTURE OF A SUMMER DAS VORSPIEL Ina Weisse ............................................................ 55
Sharon von Wietersheim .................................................................. 37
DIE WOLF-GÄNG Tim Trageser ....................................................... 55
DER JUNGE MUSS AN DIE FRISCHE LUFT
THAT BOY NEEDS FRESH AIR Caroline Link .................................. 38 Shareholders & Supporters ............................................................ 57
KALTE FÜSSE COLD FEET Wolfgang Groos ................................... 39 Film Exporters ................................................................................. 58
KIDNAPPING STELLA Thomas Sieben ............................................ 40 Imprint .............................................................................................. 59
3
BERLINALE GFQ 1-2019
IN
COMP
ETITIO
N
© bombero int./Warner Bros. Ent./Gordon Timpen
DER GOLDENE
HANDSCHUH
THE GOLDEN GLOVE
H
amburg-St. Pauli in the 1970s: At with the drama THE EDGE OF HEAVEN (2007) SOUND OF ISTANBUL (2006), THE EDGE OF
first glance, Fritz “Fiete” Honka for which he won the prize for Best Screen- HEAVEN (2007), NEW YORK, I LOVE YOU
is a pitiful loser. The man with the play at the Festival de Cannes. The film also (episode, 2008), SOUL KITCHEN (2009),
broken face carouses through his received the European Film Award and the POLLUTING PARADISE (2012), THE CUT
nights in the neighborhood dive, the “Golden German Film Award. For his following film, (2014), IN THE FADE (2017), and THE GOLDEN
Glove”, chasing after lonely women. None of SOUL KITCHEN (2009), he was honored with GLOVE (2019).
the regulars suspect that the apparently the Special Prize of the Jury at the Venice
harmless Fiete is actually a monster. Film Festival. With his production company GENRE Horror CATEGORY Feature YEAR OF
corazón international, founded in 2004, he has PRODUCTION 2019 DIRECTOR Fatih Akin
Fatih Akin’s horror film THE GOLDEN GLOVE produced several films alongside his own SCREENPLAY Fatih Akin CINEMATOGRAPHY
is based on a true story and the novel of the productions, including the internationally Rainer Klausmann CAST Jonas Dassler PRO-
same name by Heinz Strunk. It tells the story successful films CHIKO, TAKVA and MIN DÎT. DUCERS Nurhan Şekerci-Porst, Fatih Akin,
of Fritz Honka, a man who murdered numer- He has been directing his films exclusively for Herman Weigel CO-PRODUCERS Willi Geike,
ous women, and his favorite bar, the “Golden his production company bombero interna- Jérôme Seydoux, Sophie Seydoux, Ardavan
Glove”, where schmaltzy German songs move tional since 2012. THE CUT was the com- Safaee PRODUCTION COMPANY bombero
the boozy bar hounds to tears and drinking is pany’s first production and premiered in 2014 international, in co-production with Warner
a reflex against pain and longing. in Venice. In 2017 his film IN THE FADE with Bros. Film Productions Germany, Pathé
Diane Kruger and Denis Moschitto in the RUNTIME 115 min LANGUAGE German
FATIH AKIN is an internationally successful leading roles premiered in Cannes in Com- FESTIVALS Berlinale 2019 (In Competition)
filmmaker. He won the Golden Bear for HEAD petition, where Diane Kruger won the award
ON in 2004 and at that time he had already for Best Actress. The film also won the SALES
completed film school, two short films, one Golden Globe for Best Foreign Language The Match Factory
documentary about his parents’ migration Film. A selection of his films includes: SHORT info@matchfactory.de
from Turkey to Hamburg, and three feature SHARP SHOCK (1998), IN JULY (2000), HEAD- www.the-match-factory.com
films. He then achieved international success ON (2004), CROSSING THE BRIDGE – THE
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GFQ 1-2019 BERLINALE
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© Nachmittagfilm
ICH WAR ZUHAUSE,
ABER …
I WAS AT HOME, BUT…
P
hillip lives with his mother and his ANGELA SCHANELEC was born in 1962. She GENRE Drama CATEGORY Feature YEAR OF
eight-year-old sister in middle- studied Acting at the College of Music and PRODUCTION 2019 DIRECTOR Angela
class conditions. The film begins Performing Arts in Frankfurt am Main from Schanelec SCREENPLAY Angela Schanelec
when he returns home after a week 1982-1984, and worked at the Thalia Theater CINEMATOGRAPHY Ivan Markovic CAST
in which he disappeared without a trace. The in Hamburg, Berlin’s Schaubühne and the Maren Eggert, Franz Rogowski, Lilith
mother and his teachers can only guess what Schauspielhaus in Bochum from 1984-1991. Stangenberg, Jakob Lasalle, Clara Möller,
he was looking for, being at the mercy of She studied at the German Film & Television Alan Williams, Jirka Zett, Dane Komljen PRO-
nature or an approach to death, triggered by Academy in Berlin from 1990-1995, gradu- DUCER Angela Schanelec PRODUCTION
the death of his father. The first weeks after ating with MY SISTER’S GOOD FORTUNE, COMPANY Nachmittagfilm Angela Schanelec,
his return are narrated, in which the normal- winner of the German Critics’ Prize 1996. Her in co-production with Dart Film RUNTIME
ity of daily life, which stumbles back into other films include: SCHÖNE GELBE FARBE 106 min LANGUAGE German FESTIVALS
action, stands in stark contrast to the prox- (1991), WEIT ENTFERNT (1991), PRAG, MÄRZ Berlinale 2019 (In Competition)
imity of death to which Phillip has gone. His 92 (1992), I STAYED IN BERLIN ALL SUMMER
mother fails at the necessity of accepting that (1993), PLACES IN CITIES (1998, Cannes Un SALES
her son is leading a life of his own which she Certain Regard), PASSING SUMMER (2001, Deutsche Kinemathek
can only influence to a limited extent. After Berlinale Forum), MARSEILLE (2004, Cannes filmverleih@deutsche-kinemathek.de
she believed that she at least no longer had Un Certain Regard 2005), AFTERNOON (2007), www.deutsche-kinemathek.de
to worry about his physical integrity, Phillip ORLY (2010, Berlinale Forum), THE BRIDGES
goes to the hospital with blood poisoning. The OF SARAJEVO: PRINCIP TEXTE (2014, Cannes
mother loses her nerves between renewed Special Screenings), THE DREAMED PATH
concern for the child, fears of failure and feel- (2016, Locarno In Competition), and I WAS
ings of guilt. But the children do not turn AT HOME, BUT... (2019, Berlinale In Com-
away. The structure of the family disinte- petition).
grates in order to form itself anew.
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© Kineo Film/Weydemann Bros./Yunus Roy Imer
SYSTEMSPRENGER
SYSTEM CRASHER
O
n her wild quest for love, 9-year- While being acutely authentic, first-time GENRE Drama CATEGORY Feature YEAR
old Benni’s untamed energy director Nora Fingscheidt transcends a OF PRODUCTION 2019 DIRECTOR Nora
drives everyone around her to psychological study and crafts vibrant, Fingscheidt SCREENPLAY Nora Fingscheidt
despair. visceral and emotional cinema, which CINEMATOGRAPHY Yunus Roy Imer CAST
evokes unforgettable performances. Helena Zengel, Albrecht Schuch, Gabriela
She is small, but dangerous. Wherever Benni Maria Schmeide, Lisa Hagmeister, Melanie
ends up, she is immediately expelled. The NORA FINGSCHEIDT was born in Braun- Straub, Victoria Trauttmansdorff, Maryam
wild 9-year-old girl has already become what schweig in 1983 and spent her childhood in Zaree, Tedros Teclebrhan PRODUCERS
child protection services call a “system Germany and Argentina. From 2003 onwards Peter Hartwig, Jonas Weydemann, Jakob D.
crasher”. And she is certainly not looking to she supported the development of the self- Weydemann CO-PRODUCER Frauke Kolb-
change her ways. Because Benni has one organized film school filmArche in Berlin. müller PRODUCTION COMPANIES Kineo
single goal: to be back at home with her At the same time, she completed her training Filmproduktion, Weydemann Bros., in co-
mommy! But Bianca is scared of her own as an acting coach with Sigrid Andersson. production with Oma Inge Film, ZDF Das
daughter. Mrs. Bafané from child protection From 2008-2017, she studied Fiction Di- kleine Fernsehspiel RUNTIME 118 min
services is trying her best to find a permanent recting at the Film Academy Baden-Würt- LANGUAGE German FESTIVALS Berlinale
placement for Benni. She hires the anger temberg. Her graduation film, the full-length 2019 (In Competition)
management trainer Micha as Benni’s school documentary WITHOUT THIS WORLD about a
escort and suddenly there is a seed of hope. conservative Mennonite colony in Argentina, SALES
Will Micha be able to succeed where all won the Max Ophüls Prize and First Steps Beta Cinema
others despaired? Award in 2017. Her fiction debut SYSTEM beta@betacinema.com
CRASHER has already won several awards at www.betacinema.com
script level. It also won the “Works in Pro-
gress” section at Les Arcs Film Festival.
6
GFQ 1-2019 BERLINALE
BERLIN
AL
SHORT E
S
© RosenPictures Filmproduktion
UMBRA
A
shimmering light, the rustle of the FLORIAN FISCHER was born in 1981 and GENRE Experimental, Nature CATEGORY
leaves, round spots of light in the studied Communication Design and Image Short YEAR OF PRODUCTION 2019 DIREC-
shade of a tree. The sun reflects Sciences. His films include: STILL LIFE TORS Florian Fischer, Johannes Krell
on the water. It is an element and (2014), KALTES TAL (2016), NO SEX PLEASE SCREENPLAY Florian Fischer, Johannes
counterpart. Can nature observe itself? A (2017), and UMBRA (2019). Krell CINEMATOGRAPHY Florian Fischer,
cinematic reflection on the presence and Johannes Krell PRODUCERS Ray Peter
absence of things. JOHANNES KRELL was born in 1982 and Maletzki, Stephan Helmut Beier PRODUC-
studied Cinematography and Media Arts. His TION COMPANY RosenPictures Filmproduk-
The film UMBRA deals with rare and common films include: the shorts ROOM ONE (2009), tion, in co-production with Kunsthochschule
optical phenomena that occur in nature. STATION (2010), A CLOUD OF UNKNOWING für Medien Köln and Johannes Krell RUN-
These phenomena evoke familiar images (2011), STILL LIFE (2014), KALTES TAL (2016), TIME 20 min LANGUAGE English FESTIVALS
such as shadows or reflections on a water and UMBRA (2019). Berlinale 2019 (Berlinale Shorts)
surface, but also unusual ones like the
“Brocken spectre” or the pinhole effect dur- SALES
ing a solar eclipse. These ancient and natural RosenPictures Filmproduktion
projections can be considered as pre-cultural umbra@rosenpictures.com
and independent of any apparatus. They www.rosenpictures.com
occurred even before mankind and are united
by their intangible, ephemeral presence. In Kunsthochschule für Medien Köln
their immateriality and fragility, they are pre- dilger@khm.de
cursors of the cinematic image. www.khm.de
UMBRA develops a visual dialogue between
phenomenon and apparatus, archetype and
image, self and self-perception.
7
BERLINALE GFQ 1-2019
PANO
RAMA
© Jens Harant/Port au Prince Pictures
ALL MY LOVING
F
or the siblings Stefan (41), Julia (44) mistakes and insecurities they are trying to GENRE Drama CATEGORY Feature YEAR OF
and Tobias (34) life is seemingly find their own piece of happiness. PRODUCTION 2019 DIRECTOR Edward
alright. Working as a pilot, Stefan Berger SCREENPLAY Edward Berger, Nele
has a big apartment, a fast car and EDWARD BERGER, born 1970 in Germany, Mueller-Stöfen CINEMATOGRAPHY Jens
many women. However, the disappearance of graduated from NYU’s Tisch School of the Harant CAST Lars Eidinger, Nele Mueller-
his daughter Vicky, the result of a former Arts and directed his debut GOMEZ in 1997. Stöfen, Hans Löw PRODUCERS Jan Krüger,
affair, triggers the longing for a more sub- He won the German Grimme Award for A Jörg Trentmann, Raimond Goebel PRO-
stantial form of love. Julia and her husband GOOD SUMMER (2012). His film JACK (2014) DUCTION COMPANY Port au Prince Film &
Christian are spending a long weekend in Italy premiered in competition at the Berlinale and Kultur Produktion, in co-production with
to give their relationship a boost. But when a won the German Film Award in Silver for Best Pandora Film Produktion, WDR RUNTIME
dog gets hurt in the street, she immediately Film. It also won Best Director and Best Film 118 min LANGUAGE German FESTIVALS
shifts her attention to the little animal and at the German Director’s Guild Awards. His Berlinale 2019 (Panorama)
obsesses over its well-being. Tobias, father of TV series DEUTSCHLAND ’83 (2015) pre-
three kids and married to a successful busi- miered at the Berlinale and was the first SALES
nesswoman, is finally trying to get his univer- German TV show to be released in the US. It Beta Cinema
sity degree, when his siblings send him to won the award for Best International Drama beta@betacinema.com
their hometown to take care of their sick Series at Séries Mania, the International www.betacinema.com
father. Once there he realizes his parents Emmy and the Peabody Award. In 2017 he
cannot live alone anymore, and he is con- was named one of Ten Europeans to Watch by
fronted with his own dilemma: will he con- Variety. Recently he directed Showtime’s
tinue to give himself up for other people’s PATRICK MELROSE (2018) starring Benedict
needs? All three have reached a point in their Cumberbatch, which was nominated for five
lives where something has to change, before Emmy Awards and for a Golden Globe.
the rest of their lives begin. Among chaos,
8
GFQ 1-2019 BERLINALE
PANO
RAMA
© Komplizen Film/Jieun Yi
O BEAUTIFUL NIGHT
A
lthough Juri is young, he lives in XAVER BÖHM is a freelance animator, GENRE Drama CATEGORY Feature YEAR OF
constant fear of dying. Nightly illustrator and filmmaker. He studied Visual PRODUCTION 2019 DIRECTOR Xaver Böhm
panic attacks for him are routine Communication at the London College of SCREENPLAY Xaver Böhm, Ariana Berndl
– but one night he meets a dark Communication and the University of the Arts CINEMATOGRAPHY Jieun Yi CAST Noah
figure who claims to be Death incarnate. So Berlin Weißensee. His award-winning Saavedra, Marko Mandić, Vanessa Loibl
begins a bizarro-Faustian trip together graduation film ROADTRIP (2014) was PRODUCERS Janine Jackowski, Jonas
through the night, during which Juri meets screened at over 100 international film Dornbach, Maren Ade PRODUCTION COM-
Nina and falls in love with her. But come festivals and was also nominated for the PANY Komplizen Film, in co-production with
dawn, one of them must die. German Short Film Award. His work as a ZDF Das kleine Fernsehspiel, ARTE RUNTIME
freelance animator and director include 89 min LANGUAGE German FESTIVALS
projects for clients such as the New York Berlinale 2019 (Panorama)
Times and the British National Society for the
Prevention of Cruelty to Children (NSPCC) SALES
and music videos for diverse artists. Xaver The Match Factory
lives and works in Berlin. His other films are info@matchfactory.de
DOWN DOWN DOWN (short, 2018) and his www.the-match-factory.com
feature debut O BEAUTIFUL NIGHT (2019).
9
BERLINALE GFQ 1-2019
BERLIN
ALE
GENER
ATION
© Yana Ugrekhelidze
ARMED LULLABY
T
he film shows four routes of flight YANA UGREKHELIDZE studied at the Aca- GENRE Animation, Drama CATEGORY Short
that were taken by four children demy of Media Arts Cologne. In addition to YEAR OF PRODUCTION 2018 DIRECTOR
in order to escape the ethnical numerous installations, her films include: Yana Ugrekhelidze SCREENPLAY Yana
massacre. One had to push through LA BRIQUE (2011), SUMMER STORY (2017), Ugrekhelidze CINEMATOGRAPHY Yana
the crowd to get to the last ship, another one ARMED LULLABY (2018), THE CASE NR. Ugrekhelidze ANIMATION Yana Ugrekhelidze
to get to the last train, and a third to the last 79087 (2019), and WITH NIKITA THROUGH PRODUCER Yana Ugrekhelidze PRODUCTION
plane, which explodes after takeoff. The THE RABBIT HOLE (2019). COMPANY Kunsthochschule für Medien Köln
fourth child, who missed all three possibili- RUNTIME 8 min LANGUAGE no dialogue
ties to leave his hometown, walks together FESTIVALS Berlinale 2019 (Generation)
with his family and thousands of other ref-
ugees over the snow-covered mountains. The SALES
film is based on the real stories of people who Kunsthochschule für Medien Köln
escaped the Sukhumi Massacre in 1993 dilger@khm.de
during the Abkhazian-Georgian war. www.khm.de
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GFQ 1-2019 BERLINALE
PERSP
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DEUTS E
CHES
KINO
© Flare Film
BERLIN BOUNCER
B
ERLIN BOUNCER tells the story of David Dietl has built a trustful relationship GENRE Biopic, History, Music CATEGORY
Berlin, from a divided city to a party with the three protagonists, opening a window Documentary YEAR OF PRODUCTION 2019
metropolis, through the eyes of its into their lives. Exploring their past, their DIRECTOR David Dietl CINEMATOGRAPHY
most legendary club bouncers. ways of living in this pulsating city, finding a Eric Ferranti, Raphael Beinder PRODUCER
Frank came to Berlin in the late 1980’s to way to grow up and taking over responsibility Martin Heisler PRODUCTION COMPANY Flare
study, while Smiley Baldwin was still guarding as well as sharing their memories of Berlin’s Film RUNTIME 87 min LANGUAGE German,
the Wall as an American GI. Behind the Wall cultural development during the last de- English FESTIVALS Berlinale 2019 (Perspek-
lived Sven, a young punk and photographer. cades. BERLIN BOUNCER is a film about tive Deutsches Kino)
When the Wall came down in 1989 and Berlin Berlin’s historic and current club culture,
became a reunited city with a dazzling, about the city’s vibe and about reaching SALES
transitory nightlife in illegal clubs that adulthood at the age of 50. Flare Film
popped up everywhere in the city, traditional info@flare-film.com
jobs and structured daily lives were soon for- DAVID DIETL studied at the German Film and www.flare-film.com
gotten. Since then, the nightlife has cast a Television Academy Berlin. His films include:
spell over them and Sven Marquardt, Frank AUF NUMMER SICHER (TV, 2007), KING OF
Künster and Smiley Baldwin became three GERMANY (2013), ELLA’S BABY (TV, 2017),
of the most famous bouncers in the city, RATE YOUR DATE (2018), and BERLIN
handling the door policies of Berlin’s noto- BOUNCER (2019).
rious electro clubs. To this day, they are still
the ones to decide on the joy of hundreds of
people every weekend. Meanwhile, their per-
sonal lives have suffered due to excessive
lifestyles. Now, at the age of 50, the big
questions of life come knocking at their doors
and ask the men to finally grow up.
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KINO
© unafilm/Philipp Meise/Filmuniversität Babelsberg
DUST
W
hen David sets out to trace Mumtaz’s photo captures this horrific in- GENRE Drama CATEGORY Feature YEAR
the final journey of his girl- cident. Fleeing the violence ridden surround- OF PRODUCTION 2019 DIRECTOR Udita
friend Mumtaz, little does ings of the camp, Radha, a young girl, reaches Bhargava SCREENPLAY Udita Bhargava
he know what awaits him. A the city. Years after, working as a surrogate CINEMATOGRAPHY Philipp Meise CAST
photographer by profession, Mumtaz died in mother, she is still seeking a sense of be- Morten Holst, Vinay Pathak, Kalyanee Mulay,
the heartlands of central India, leaving behind longing in a world where survival comes at Golu Abu Bakr, Amrita Bagchi PRODUCER
no more than a single photograph for him. He a heavy price. Moving seamlessly between Titus Kreyenberg CO-PRODUCERS Jörg
seeks out Dr. Sharda, a cynical old man who a landscape of memories, dreams and Schulze, Philipp Kreuzer PRODUCTION COM-
could help him reach the place, buried in the glimpses of the future, and referring to the PANY unafilm, in co-production with Film-
interiors of the country, where Mumtaz last left wing insurgency that has affected large universität Babelsberg KONRAD WOLF, maze
was. When he is turned away harshly by the parts of India, in particular central India, pictures RUNTIME 80 min LANGUAGE Hindi,
doctor, David falls deeper into his void of DUST creates a multilayered portrait of English FESTIVALS Berlinale 2019 (Perspek-
memories, until an unexpected turn of events people caught up in an inhumane conflict. tive Deutsches Kino)
reunites him with the latter. They set off on a
journey, a journey which opens David's eyes UDITA BHARGAVA was born in 1982 and SALES
to the true identity of the doctor and takes studies at the Film University Babelsberg unafilm
him back to that reality which Mumtaz has KONRAD WOLF. Her films include MIND- office@unafilm.de
been documenting – the war that reigns in the SPACE (short doc, 2011), PITCH BUILDS www.unafilm.de
heart of India. Dr. Sharda is revealed to be the A BALL AND DESTROYS IT (short, 2012),
commander of a camp training young boys in IMRAAN C/O CARROM CLUB (short doc,
combat against an exploitative and violent 2014), and her feature debut DUST (2019).
state. However, when one of the boys in his
camp deserts, the boys' collective anger turns
against their own comrade Krishna, the
deserter’s brother. Krishna is brutalized.
12
GFQ 1-2019 BERLINALE
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KINO
© Markus Koob
DIE EINZELTEILE
DER LIEBE
THE COMPONENTS OF LOVE
W
hen Sophie and Georg meet MIRIAM BLIESE was born in 1978. She GENRE Tragicomedy CATEGORY Feature
and start to fall in love, she is studied Literature and Philosophy at the FU YEAR OF PRODUCTION 2019 DIRECTOR
pregnant from her ex-boy- Berlin and Directing at the German Film and Miriam Bliese SCREENPLAY Miriam Bliese
friend who has left her. Georg Television Academy Berlin (DFFB). Her films CINEMATOGRAPHY Markus Koob CAST Birte
naturally grows into the role of a father to the include: the shorts TANGO (2011), MY ANGEL Schnöink, Ole Lagerpusch, Andreas Döhler,
newborn child Jakob. Meanwhile, the com- (2013), AT THE DOOR (2013), and her feature Justus Fischer PRODUCER Clemens Köstlin
posed family has to deal with the usual issues debut THE COMPONENTS OF LOVE (2019). CO-PRODUCER Miriam Bliese PRODUCTION
of modern parenthood: Who is allowed to COMPANY Deutsche Film- und Fernseh-
work, who takes care of the kid? How much akademie Berlin (DFFB), in co-production
freedom is possible, how much sacrifice must with RBB RUNTIME 97 min LANGUAGE
be made? And is there room for passion in the German FESTIVALS Berlinale 2019 (Perspek-
midst of all this? A few years later, Georg and tive Deutsches Kino)
Sophie are separated. Jakob is six years old
and his parents are desperately fighting over SALES
his custody. Until Sophie’s new boyfriend Patra Spanou Film Marketing & Consulting
starts to mediate between the frontlines. film@patraspanou.biz
www.patraspanou.com
In fragmented scenes which all take place
in front of the same apartment building in
Berlin, the film draws the elliptical portrait of
a modern patchwork family. The characters
share their sorrows and longings between
walls, pillars and on parking lots. Home is no
longer a safe haven, but a windy intermediate
space. A laconic look at the everyday irration-
alities of love.
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KINO
© Johannes Greisle/Filmuniversität Babelsberg
DIE GRUBE
THE PIT
I
t’s winter, 5 degrees and the water’s HRISTIANA RAYKOVA was born in 1985 in GENRE Society CATEGORY Documentary
steaming. People sit in the hot water, Varna/Bulgaria. After studying Political YEAR OF PRODUCTION 2018 DIRECTOR
leaning against the edge of the pool. Be- Science and working as a cinematographer Hristiana Raykova CINEMATOGRAPHY
hind them the sea, an endless expanse. and video editor, she studied Directing at the Johannes Greisle PRODUCER Genia Krassnig
Film University Babelsberg KONRAD WOLF. PRODUCTION COMPANY Filmuniversität
What at first glance looks like a beautiful Her films include: BABA DIMITRA (short doc, Babelsberg KONRAD WOLF RUNTIME 73 min
spa by the sea, the people of Varna call it “the 2012), SEMSSUI (short, 2012), DER EINZIG LANGUAGE Bulgarian, Russian, German,
pit”. A cinematic portrait of the Bulgarian pre- WAHRE WEINACHTSMANN (short doc, 2013), Roma FESTIVALS Berlinale 2019 (Perspektive
sent and the investigation of a microcosm H – DER HERMANNSWEG KOMPLETT UND Deutsches Kino)
that stands for an entire society. The regular AM STÜCK (short doc, 2014), KÖNIGE (doc,
visitors of the basin are our protagonists: the 2014), and THE PIT (doc, 2018). SALES
taxi driver Dimtscho, who finds love at the pit Filmuniversität Babelsberg KONRAD WOLF
at the age of 61. The retired musician Alexan- distribution@filmuniversitaet.de
der, who wants to rent his rooms to tourists www.filmuniversitaet.de
and tells us about his time as a womanizer.
Genadi, who takes care of the pit like a loving
caretaker and who lives his dream of a petting
zoo. And Bobi, who is homeless and who
walks the streets at night near the pit. Indivi-
dual biographies, touching personal stories,
interpersonal conflicts and exciting dis-
cussions combine to form a diverse picture.
World views and political convictions meet in
the pit and tell of social change and stag-
nation on the edge of Europe.
14
GFQ 1-2019 BERLINALE
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DEUTS E
CHES
KINO
© AMA FILM/Stefan Sick
DAS INNERE LEUCHTEN
THE INNER LIGHT
D
ementia, a diagnosis that changes of the illness. The film offers a poetic inter- GENRE Society, Human Interest CATEGORY
everything for those who are pretation of this special state of being and Observational Documentary YEAR OF PRO-
affected and for their relatives. aims at reducing fears in dealing with people DUCTION 2019 DIRECTOR Stefan Sick CINE-
Accepting the disease can seem with dementia and at accepting each person’s MATOGRAPHY Stefan Sick PRODUCERS Ulla
just as difficult as finding an appropriate humanity. Lehmann, Andrea Roggon PRODUCTION
approach. But perhaps it is much more about COMPANY AMA FILM, in co-production with
compassion than about understanding? In STEFAN SICK was born in 1981. He studied SWR RUNTIME 95 min LANGUAGE German
an observational way, THE INNER LIGHT Cinematography at the Filmakademie Baden- FESTIVALS Berlinale 2019 (Perspektive
explores the everyday lives of people with Württemberg. His graduation film CLOSING Deutsches Kino)
dementia and focuses mainly on positive TIME, directed by Nicole Vögele, premiered in
situations and encounters. Locarno in 2018 and won the Premio speciale SALES
della giuria Ciné+ in the section Cineasti AMA FILM
Free of past and future, there is a possibility del presente. During his studies, he was mail@amafilm.de
to live in the moment. The film dedicates it- mainly responsible for the cinematography of www.amafilm.de
self to these kinds of moments. Alongside its creative documentary films and was rep-
protagonists, we discover the slowness, the resented with his works at prestigious film
struggle and the beauty of the rituals of their festivals all over the world. He was awarded
everyday lives. Without commenting, the film with the prize for the Best Cinematography
shows pure emotions of sadness, cheer- for NEBEL (which premiered at the Berlinale
fulness and thoughtfulness. in 2014) at the Sehsüchte International
Student Film Festival. Active as a freelance
THE INNER LIGHT builds strong emotional cinematographer and filmmaker, THE INNER
ties with the protagonists and attempts to LIGHT is his debut as a director.
make their view on the world tangible, but
does not avoid conflicts and the seriousness
26 15
BERLINALE GFQ 1-2019
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DEUTS E
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KINO
© Sarah Beckhoff/Filmuniversität Babelsberg
OFF SEASON
J
udith (40) is taken by her boyfriend Saint Rosalia, she recognizes a part of herself GENRE Drama CATEGORY Feature YEAR
Gregor (41) on a wellness holiday in that she has long misjudged. OF PRODUCTION 2019 DIRECTOR Henning
Sicily to get some rest and relaxation Beckhoff SCREENPLAY Bastian Köpf, Paula
and recover from work. But the hotel HENNING BECKHOFF was born in 1991 and Cvjetkovic, Henning Beckhoff CINEMATOG-
in the off season seems deserted and offers studied Film Directing at the Film University RAPHY Sabine Panossian CAST Franziska
little to do apart from a tennis court and Babelsberg KONRAD WOLF. Also active as a Petri, Godehard Giese, Patrizia D’Antona,
empty beach chairs. Distraction. Since the freelance director, writer and producer, his Isabella Torre, Peter Lohmeyer PRODUCER
couple’s relationship is going through a crisis films include: FAHRT ZU HÖLLE (short, 2017), Valeria Venturelli PRODUCTION COMPANY
and Judith is not in the mood for a vacation, VOGELFREI (short, 2017), THINGS I DON’T Filmuniversität Babelsberg KONRAD WOLF
the calls from her father’s company are a GET (2018), and OFF SEASON (2019). RUNTIME 43 min LANGUAGE German FESTI-
welcome change to escape the tutelage by VALS Berlinale 2019 (Perspektive Deutsches
her boyfriend. It’s the last few months before Kino)
the birth of their child and Judith does not
see why the pregnancy should cramp her life- SALES
style. But Gregor’s expectations for the future Filmuniversität Babelsberg KONRAD WOLF
family and the pressures by Judith’s job in- distribution@filmuniversitaet.de
crease her urge for freedom. The last days in www.filmuniversitaet.de
the resort become a power struggle about
reconciling family, professional success and
self-determination. A letter about the future
should determine how things continue, but
Judith develops her own plans. She runs
away. In Palermo she meets various women
– and the patron saint of the city: through
16
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BERLIN
AL
SPECIA E
L
© WDR/Nik Konietzny
BRECHT
“
I
will show the world how it really is,” interviews with Brecht’s employees and GENRE Drama CATEGORY Mini-Series YEAR
the pupil Eugen Berthold Friedrich companions from recent years were added to OF PRODUCTION 2019 DIRECTOR Heinrich
Brecht told a friend, and he said: “I’ll the current film. Together with documentary Breloer SCREENPLAY Heinrich Breloer
come right after Goethe.” It was an material from the archives and intensive CINEMATOGRAPHY Gernot Roll CAST
early mission, and it looked like pure mega- research, they complete the documentary Burghart Klaußner, Tom Schilling, Adele
lomania. The film traces the paths and wrong fiction. Neuhauser, Trine Dyrholm, Lou Strenger,
ways in which the gifted sickly, shy and at the Mala Emde, Ernst Stotzner, Franz Hartwig,
same time cheeky boy finally, despite the HEINRICH BRELOER was born in 1942. Active Friederike Becht, Leonie Benesch, Maria
most turbulent times, became the most influ- as a writer and director, a selection of his Dragus, Laura de Boer PRODUCERS Corinna
ential playwright of the German language in highly-acclaimed films includes: DAS BEIL Eich, Jan S. Kaiser PRODUCTION COM-
the world – almost as much hated as admired VON WANDSBEK (1982), WEHNER – THE PANIES Bavaria Fiction, Bavaria Filmpro-
on his way. Brecht’s love and friendship rela- UNTOLD STORY (1993), TODESSPIEL (1997), duktion Köln, SATEL Film, in cooperation with
tionships, the competing ones, the temporary the Emmy award-winning DIE MANNS – EIN MIA Film, in co-production with WDR, BR,
ones, the lifelong ones, are closely linked to JAHRHUNDERTROMAN (2001), SPEER AND SWR, NDR, ARTE RUNTIME 2 x 90 min
this unique career. HITLER (2005), BUDDENBROOKS (2008), and ORIGINAL VERSION German FESTIVALS
BRECHT (2019). Berlinale 2019 (Berlinale Special)
Over a period of 40 years, Heinrich Breloer
tells the story of the life of the most SALES
frequently played German playwright of the Bavaria Media
20th century, a life so moved by art, women carlos.hertel@bavaria-media.de
and contemporary history. By the end of the www.bavaria-media.de
1970s, Heinrich Breloer had already ap-
proached the figure of Brecht with a television
documentary and had many conversations
with contemporary witnesses. Numerous
17ACTRESS PORTRAIT GFQ 1-2019
REALIZING HER
DREAM
A PORTRAIT OF ACTRESS EMMA DROGUNOVA
© Florian Liedel
18GFQ 1-2019 ACTRESS PORTRAIT
W
hen the exciting or the TV production TOTER WINKEL,
news arrived that which was even nominated for the
she would be fêted International Emmy last year. No
as one of the Euro- wonder she can’t devote much time
pean Shooting Stars at the Berlinale at present to the course in Russian
2019, initially Emma Drogunova’s and French at Berlin’s Humboldt
feelings ran away with her. “When University, in which she has been en-
my agent rang up, I was sitting in a rolled for several semesters now:
car on my way back to the hotel one “But anyway, I’m not doing it so that I
evening after a long day’s shooting have a B.A. in my pocket one day. I’m
in Cologne. The news bowled me simply doing it for myself, so that I
over so completely that I let out can work on those two languages
a great shriek of pleasure.” At a whenever I find the time.”
distance of some weeks now, she is
forced to smile a bit over her emo- Drogunova speaks French fluently, as
tional reaction. “The poor driver got well as German and Russian, be-
a nasty shock!” cause she attended a French school
in Berlin for many years. One of her
Certainly the 23-year-old Berliner greatest dreams is to make pro-
makes no attempt to hide just how fessional use of this collection of
much this prize means to her. For languages in the future, and the
some time now, she has been follow- Shooting Star Award could be a first
ing very carefully who is honored with step towards realizing this dream.
the title of Shooting Star – and so she She is particularly drawn to the film
can guess roughly what awaits her world in France – and would like to
during the busy program days of the spend a longer period working in
Berlinale. “It’s certainly very special Paris, perhaps.
to follow in the footsteps of people
like Franz Rogowski, Jella Haase, But first and foremost, her interest is
Louis Hofmann or Anna-Maria not directed towards one country but
Mühe, all of whom I admire greatly,” to the cinema in general. For as
Drogunova says with delight. She is much as she may have let herself
the youngest of the ten actors who drift in terms of professional plans
will receive the award this year. initially, her passion for the cinema
“And after all, it’s not just about the THE TOBACCONIST (© GLORY FILM/EPO-FILM/Petro Domenigg FILMSTILLS.AT) has definitely been kindled in the
German market but the whole of meantime. Drogunova sums this up –
Europe. It’s totally crazy that I will be rep- But when a few friends appeared in adver- “My love of the cinema grew greater and
resenting Germany there.” tising spots, she also made the effort to join greater, the more I acted myself” – after tell-
an agency for child actors. “It started from ing me about a friend of hers who is studying
She just wants to let things happen, remain- there, in a very relaxed way,” she recalls. “By direction; she herself recently cast the actors
ing as relaxed as possible and looking for- the time I finally made my first short film, I for his graduation film, which meant weeks of
ward to it all, but she intends to prepare a had definitely developed a taste for it.” work. “Quite apart from my own projects, I’m
little in the weeks before the event, none- really interested in what new developments
theless: “I want to watch as many English- Key experiences were not only a brief appear- there are, in exciting work by colleagues
language series as I can, so that I get myself ance in the successful two-part TV drama who are establishing themselves, and in what
attuned to the language and I can talk to HOTEL ADLON – A FAMILY SAGA, but above all director works in which particular style. For
everyone. And I want to watch all the films for her work on the short film NICHT DEN a few years now, for example, one compulsory
which the other Shooting Stars are receiving BODEN BERÜHREN. “I enjoyed acting, even date for me has been the Filmfestival Max
the award. Because getting to know them and at many castings where I was unsuccessful in Ophüls Preis in Saarbrücken, as there’s noth-
gaining insights into work in other countries the end. But here I played my first leading ing I love more than watching as many films
is the best thing about the whole business as role, and that meant a lot to me,” Drogunova as possible at a festival.” She assures me that
far as I’m concerned.” recounts. “And above all, I got to know direc- none of this will change in the future, either.
tor Mia Spengler, who has become my mentor Although she can assume that during the
For Drogunova, who was born in Tjumen/ since then – something like a big sister to me. 2019 Berlinale at least, she is unlikely to have
Siberia in 1995 and moved to Germany I have learned a huge amount from her, much time to watch films.
with her parents at the age of two, the award things about myself as well.”
– which she is receiving not least for her Patrick Heidmann
role as the dancer Anezka in the Austrian- Not least, it was Spengler – with whom she
German film version of the bestseller THE later made the cinema film BACK FOR GOOD
TOBACCONIST directed by Nikolaus Leytner – who advised her to pursue her acting after
– represents the high point of her career school graduation as well. Nevertheless,
to date, a career that has not progressed Drogunova flirted briefly with the idea of
purely by chance but without specific plans, training as a dancer; because it left her in-
certainly. Because, as she explains laughing, sufficient time for filming, though, she aban-
it is not unusual for children of Russian doned her dance course after a while. Even
families to be put on the stage quite early on, without much planning, one role began to
so she already gathered her first experience follow another, including in much-acclaimed
in children’s theater as a young girl. She did episodes of TATORT, cinema films such as A
not feel particularly at ease there, however. JAR FULL OF LIFE and THE FINAL JOURNEY,
19DIRECTOR’S PORTRAIT GFQ 1-2019
DOING HER
OWN THING
A PORTRAIT OF DIRECTOR KATRIN GEBBE
© Katrin Gebbe
20GFQ 1-2019 DIRECTOR’S PORTRAIT
K
atrin Gebbe seems com- you lose sight of your second cinema
pletely relaxed during our film.”
interview at a café in
Hamburg-Altona. That is Instead, she preferred to keep the ex-
not only astonishing because out- periences gathered in Cannes and
side the Christmas rush is in full
swing already, with people busy
NOTHING other festivals in the back of her
mind – and direct her eyes towards
drinking mulled wine and frantically
shopping for gifts. Above all, it BAD the horizon beyond the German
borders. At the latest, it was a grant
seems surprising because Gebbe
is actually under considerable pres- CAN for the Villa Aurora in Los Angeles
that triggered Gebbe’s desire to work
sure working to complete her new
film PELICAN BLOOD, and you might HAPPEN internationally as well: she was so
enthused by the “excitement at trying
expect her to be suffering from A FIL M BY
something new and the energy” that
extreme cutting-room stress. But K AT R I N G E B B E she encountered among American
things often happen a little differ- producers there. And even in the final
ently around the 35-year-old direc- stages of pregnancy she refused to
tor, making her stand out among her turn down an offer from Tim League,
colleagues. who had introduced NOTHING BAD
CAN HAPPEN to US cinemas with
It is six years ago now that Gebbe Drafthouse Films, to contribute a
made a name almost overnight, not short film to his world-wide horror
only within the German film scene anthology THE FIELD GUIDE TO EVIL,
but on the international stage as which was premiered at the SXSW
well. That was when the Berlinale festival.
rejected her debut film NOTHING
BAD CAN HAPPEN; however, this PELICAN BLOOD – although back
emerged as a blessing for the direc- JULIUS FELDMEIER
under the aegis of Gräfe-Höft’s com-
tor, who was born in Ibbenbüren in SA SC H A A LE X A NDER GER SA K pany Junafilm – is again the outcome
A NNIK A KUHL
North Rhine-Westphalia but chooses SWA NTJE KOHLHOF of networking that consciously ex-
to live in Hamburg. For ultimately, J U N A F IL M PRESENT S IN A SSO CI ATION WITH ZD F – DA S K L E IN E FE R N S E H SPIE L / K AT H A R IN A DU FFN E R C A STING SIMONE BÄ R tends beyond Gebbe’s own personal
FIL M EDITOR HEIK E GNIDA MUSICIANS PE TER FOLK , JOH A NNE S LEHNIGER COSTUME DESIGNER ANNA WÜBBER M AKE - UP ARTIST L ALE Y IL M A Z
she was able to enjoy the film’s world PRODUC TION DESIGNER IRIS TRESCHER DIREC TOR OF PHOTOGR APH Y MORIT Z SC HULTHEISS PRODUCED BY V ER EN A GR Ä FE - HÖF T
WRIT TEN AND DIREC TED BY K ATRIN GEBBE
sphere and the confines of Germany.
premiere a few months later in the Her invitation to the Torino Film Lab,
section Un Certain Regard at the with its workshops distributed over a
Festival de Cannes. The film industry full year, not only brought welcome
could hardly cover its amazement: a German For a year after the Cannes premiere Gebbe input from industry consultants from all over
director whose name was largely unknown, travelled around the world and presented the world, but also earned her film world
even to insiders, presenting a debut film on NOTHING BAD CAN HAPPEN – which later sales as well as a German distributor even
the Croisette, and in addition this film – with received the German Film Critics’ Prize and before the start of shooting. The story – fea-
its radical, disturbing story about the world of was nominated for the German Film Award – turing a top-class cast including Nina Hoss
Jesus Freaks – did not fit into any category at festivals in Karlovy Vary, Zurich and Göte- as a horse trainer who is fighting desperately
that we tend to associate with German borg, for example. “I enjoyed reaping the for her adopted daughter – was made for the
cinema? No one was expecting that. Least of reward for my work so much, particularly be- most part in Bulgaria, involving the local film
all Gebbe herself, of course, who had com- cause the production of the film had been so company Miramar Film, whose producer Mila
pleted a post-graduate course in Direction at difficult,” she notes, and likes to remember in Voinikova had been invited to participate in
Hamburg Media School after studying Art at particular the screening at the Fantastic Fest the EFP’s Producers on the Move in Cannes
the Academy of Visual Arts in Enschede. in Austin, Texas. “It wasn’t about the critics alongside Gräfe-Höft in 2017.
there, or intellectual movie buffs; in the main,
The making of NOTHING BAD CAN HAPPEN they were genre and horror fans. When Elijah This time, as far as German funding and sup-
was a long and difficult process, whereby she Wood came rushing up to me after the port are concerned it has been much easier
and producer Verena Gräfe-Höft met with screening, at first I couldn’t believe it was me than it was for NOTHING BAD CAN HAPPEN,
constant opposition from the usual funding he wanted to speak to. But in fact he just Gebbe tells me as we are saying good-bye.
institutions when the latter encountered the wanted to say how enthusiastic he was about But she quickly adds: “I still can’t claim that
remarkable story and the makers’ similarly the film. It’s very special to get to know people everyone cried out hurrah, though.” However,
unusual narrative approach. To add to their who think the same way, people like him, at she is not going to let herself worry about
difficulties there was the fact that, in Gebbe’s such festivals.” that, or stray from her intended path as a re-
own words, she did not belong “to any of the sult. On the contrary: the prospect of finishing
cliques in the German film world. At the most, However, this did nothing to change her posi- work on PELICAN BLOOD in time for a poten-
you could say I belong to a generation of tion as an outsider in her home country. Initi- tial Cannes premiere immediately conjures a
German filmmakers who are attempting ally, she rejected the customary opportunities broad smile of anticipation to her face.
something a bit new and different,” the go-it- to make TV crime dramas offered to up-and-
alone director explains. “Those who don’t fit coming directors, before finally bringing her- Patrick Heidmann
into existing groups like the Berlin School or self to try one episode of TATORT at least. It
the more conventional narrative cinema, but wasn’t exactly an ecstatic experience, accord-
consciously take risks and follow a path that ing to Gebbe, but that also had a positive
is totally their own.” She does not see herself aspect: “It was perhaps a good thing that my
as being alone in the wilderness in this role. TV career wasn’t a huge success from the
“But naturally we don’t meet every few weeks word go, as people can quickly start to feel too
and moan about our lot, either.” comfortable in that field. And then suddenly
21DIRECTOR’S PORTRAIT GFQ 1-2019
© Beau Coulon
CURIOSITY
AND CHALLENGE
A PORTRAIT OF DIRECTOR BASTIAN GÜNTHER
T
he problem faced by headhunter arrive off-screen, overheard like a rumor: finally manifests itself in every movement
Clemens in Bastian Günther’s film ice cubes clinking against a highball in his and image on-screen as his contact to the
HOUSTON emerges only gradually. umpteenth drink. Then reality settles in world outside the anonymous, glazed hotel
Contracted to make an offer to a close-up, in sunken eyes and pallor – we are complex, and finally even to himself, ceases
shielded CEO at a conference in Houston, the witnessing a “headhunter” losing his own completely.
first hints of the protagonist’s fatal flaw head. The truth of the character’s isolation
22GFQ 1-2019 DIRECTOR’S PORTRAIT
HOUSTON, which was the second feature an interest in challenging the viewers. But Günther’s films revolve around characters
length film by this 44-year-old director from even if it means breaking from the safe whose choices reflect larger social conflicts
the Westerwald, follows a lonely man at the environment of a classical narrative arc, it’s and systems, worlds both within and beyond
top of his career on a perilous downward the story that always determines the our control. His recently completed “touch the
spiral. Alongside this character study, the structure.” car” drama paints an ambivalent picture of
story’s setting and visual approach provide American success. In it, poor people are
a critical analysis of our international busi- His aesthetically arresting early works are de- clearly exploited for the purpose of entertain-
ness world with English as its operating fined by long, poetic takes – in addition to ment. He posits that some viewers won’t be
language, with its clever headhunter tricks HOUSTON and END OF A TRIP, these include wild about a German making a film that is
and traps and with its high-stakes pressure the road movie AUTOPILOTS and the hybrid critical of their country. Many of the actors,
experienced by all involved. Günther com- docu-feature film CALIFORNIA CITY. None of however, found that the competition reflects
pleted his studies in Direction at the German them follow narrative conventions. “Maybe the situation in their homeland. “In the US, as
Film and Television Academy Berlin with his their narrative approach is more European,” everywhere, artists are sensitive and often
award-winning short film END OF A TRIP in says Günther, even if both HOUSTON and politically progressive,” says Günther.
2005. However, the first ideas for HOUSTON CALIFORNIA CITY take place in the US. In any “They’re open to such stories.”
came from his second home: the reserved case, “Film doesn’t stop at a national border.
director has lived for several years with his It would be nice,” says the director, “if you In terms of language, working with native
American wife and their son alternately in could throw these cinematic classifications – English speakers wasn’t a problem for the
Texas and Berlin. German or American, or indeed the genre German director. Even the lead actress Carrie
concept – right out the window.” Preston, who played the outspoken Southern
Günther is in post-production on what is now belle Arlene Bellefleur in Alan Ball’s parable
his fourth feature film. Once again, it is set in Günther understands well that the domi- about homophobia TRUE BLOOD and won an
Texas, this time with an exclusively American nance of blockbusters in both the US and Emmy for her role on THE GOOD WIFE, was
cast. “It is true that there is a vast gap be- Europe – where arthouse is regarded as niche impressed by the scripted dialogue. The new
tween rich and poor all over the world,” cinema despite successes such as TONI film’s lead actor Joe Cole, well-known from
admits Günther. But this story is inspired by ERDMANN or LA GRANDE BELLEZZA – PEAKY BLINDERS and A PRAYER BEFORE
a so-called “touch the car” contest that took means that his films, along with all indies, DAWN, retooled his British accent to become
place in East Texas. In this competition, put may take meandering paths to find their Texan with the help of a dialect coach. Cole
on as a promotional event for a car dealer- audience. Films like Günther’s in which stayed in the role during the breaks in
ship, people stand around a car and touch it characterization and pace deviate from the shooting, Günther recalls – Method Acting,
with one hand for days on end until the last mainstream, that incorporate setting symbio- in other words. So his method for this inter-
one touching the vehicle wins it. “The extreme tically into the hero’s inner development, are national production was as typically American
poverty in the Deep South (US) predestines rare among productions based around the as the small Southern town where it is set.
the region for this kind of story. Having such convention of a hero on a heroic trip. In 2015
limited options can lead to desperation – for the German TV crime series TATORT, Jenni Zylka
and people who will clutch at that sort of Günther was bold enough to conceive of a
opportunity,” explains the filmmaker. cunning, circular film-within-a-film structure
with the “real” police inspector and his “real”
Once again, the story of these characters will actor, whereby the characters are repeatedly
not follow customary narrative structures. revealed as film characters themselves. The
Günther has shaped the story into three playful film created a sensation in the media
parts, each one with a different time and and controversy around the “rules” for this
perspective – and visual approach. “I’m traditional German show which has been on
interested in new or unusual structures,” the air for almost 50 years.
Günther says. “Of course there’s curiosity and
23PRODUCERS’ PORTRAIT GFQ 1-2019
Ingelore König (© Kinderfilm/ Steffen Junghans)
SETTING
HIGH
STANDARDS
A PORTRAIT OF
PRODUCTION COMPANY
GROWN UP FILMS
“
T
he film PAULA was the reason König, who was born in the former GDR and 1988,” she continues. “However, this screen-
that I decided to set up the new studied Philosophy at Berlin’s Humboldt play was never made into a film. After a
label of Grown Up Films in University, first learned about Paula series of unsuccessful attempts at arriving
2012,” recalls producer Ingelore Modersohn-Becker after reading a bio- at a script, I was very fortunate in finding
König who had already been heading up graphy. “I was fascinated that she was so both of them through the dramaturge and
Erfurt-based Kinderfilm since 2000. “I had radical and courageous, that she was always screenwriter Laila Stieler and developing a
been developing a biopic about the feminist testing and transcending her limits, and that new interpretation with them.”
artist Paula Modersohn-Becker since 2008 she had this resolution never ever wanting
and we had reached the stage where we had to be mediocre.” “Christian Schwochow proved to be exactly
a convincing screenplay by Stefan Kolditz the right person to direct the film,” König
and Stephan Suschke that was being drama- “She wanted to achieve something in her life recalls. “He told me on the phone that he
turgically supervised by Cooky Ziesche, and and set herself very high standards. She could exactly empathize with what Paula’s
we were now beginning to look for a director once said that she would like to have painted story is all about. Christian had himself
and partners for the financing. It made at least three good paintings in her life and wanted to become a painter, but felt at some
sense to have a separate label because she wanted to become a mother. That sen- point that he would never achieve anything
when you have been running a company with tence has everything that motivates modern more than mediocrity. That personal con-
a name like Kinderfilm, everyone assumes young women: they want love, happiness, a nection immediately won me over to him. I
that you only produce children’s films,” family and self-realization – Paula was so was equally impressed by the way he saw all
König explains. modern in the way she went through life and of the characters in the screenplay with a
even though she is a historical figure, she is very modern approach and from a contem-
“We had a whole list of names for the label, very much of the here and now.” porary perspective, and the resulting film
but we felt most comfortable with Grown Up with the remarkable Carla Juri in the title
Films,” she continues. “I liked the fact that “Stefan Kolditz and his co-author Stephan role only confirms this.”
the name was open to several interpre- Suschke knew so much about Paula and her
tations: Kinderfilm has come of age, the husband Otto [Modersohn] because they had “It was also thanks to Christian that our
stories that it will now tell are more grown been studying the lives of the artist couple co-production with Claudia Steffen and
up, and it will grow beyond itself.” and conducting intensive research ever since Christoph Friedel of Pandora came about.
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