GFQ IN CANNES ISSUE GERMAN FILMS QUARTERLY

Transcription

1 GFQ GERMAN FILMS QUARTERLY ISSUE IN CANNES 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

2 CONTENTS GFQ

3 GFQ CONTENTS IN THIS ISSUE IN CANNES NEW DOCUMENTARIES DONBASS Sergei Loznitsa... 4 IN MY ROOM Ulrich Köhler... 5 SEARCHING FOR INGMAR BERGMAN Margarethe von Trotta... 6 PORTRAITS PEOPLE IN HOUSES, BUT NOT AT HOME A portrait of director Ulrich Köhler... 8 WORKING PARTNERSHIPS A portrait of director Ina Weisse TEAM SPIRIT A portrait of production company NEUESUPER EXPLORING INNER WORLDS A portrait of actor Godehard Giese NEWS & NOTES NEW FEATURES DIE DEFEKTE KATZE A DYSFUNCTIONAL CAT Susan Gordanshekan DRAUSSEN IN MEINEM KOPF Eibe Maleen Krebs FONOTUNE: AN ELECTRIC FAIRYTALE FINT FRAU MUTTER TIER MOTHER BEE Felicitas Darschin FÜNF FREUNDE UND DAS TAL DER DINOSAURIER THE FAMOUS FIVE AND THE VALLEY OF DINOSAURS Mike Marzuk DER GESCHMACK VON LEBEN TASTE OF LIFE Roland Reber HEILSTÄTTEN Michael David Pate LILIANE SUSEWIND Joachim Masannek REISE NACH JERUSALEM THE CHAIRS GAME Lucia Chiarla SCHWIMMEN SWIMMING Luzie Loose SPIELMACHER PLAYMAKER Timon Modersohn AUSSORTIERT ASIENS UNERWÜNSCHTE TÖCHTER THE BACHELOR TIME BOMB Antje Christ, Dorothe Dörholt KUNST IM PARADIES ART IN PARADISE Joachim Haupt, Sabine Pollmeier NEW SHORTS BURKINA BRANDENBURG KOMPLEX Ulu Braun CARLOTTA S FACE Valentin Riedl, Frédéric Schuld LINK Robert Löbel UPCOMING FILMS 100 DINGE Florian David Fitz BEAT Marco Kreuzpaintner DEUTSCHSTUNDE Christian Schwochow DREISSIG Simona Kostova ELEFANTEN WACHSEN SCHNELL Carlos A. Morelli KENT OZANI, DER STADTSCHREIBER VON ISTANBUL Dogan Altuner DER KRIEG IN MIR Sebastian Heinzel PARFUM Philipp Kadelbach STILLSTEHEN Elisa Mishto SYSTEMSPRENGER Nora Fingscheidt TEARS OF CHANGE Ceylan Alejandro Ataman-Checa TRÄUME VON RÄUMEN Matthias Lintner WARUM Bernd Böhlich WEST OF LIBERTY Barbara Eder Shareholders & Supporters Film Exporters Imprint

4 IN CANNES GFQ ma.ja.de. Fiction DONBASS When war is called peace, when propaganda is uttered as truth, when hatred is de - clared to be love, life itself begins to resemble death. Surviving Donbass. A practical guide to Inferno. The action of the film takes place in a region of Eastern Ukraine, occupied by various criminal gangs, which are fighting at once with the Ukrainian regular army, with other gangs and with Russian troops. The context in which the action takes place is a hybrid war, happening alongside an open armed conflict, accompanied by robberies on a mass scale and gradual degradation of the civilian population. There is fear, deception, hatred and violence everywhere. Society is collapsing, and death and deadly silence lie upon the place. The state of war reaches its climax. SERGEI LOZNITSA was born in 1964 in Baranovichi in the former USSR. He grew up in Kiev, and graduated from the Kiev Polytechnic with a degree in Applied Mathematics. From , he was employed at the Kiev Institute of Cybernetics, working on artificial intelligence research. He also worked as a translator for Japanese. In 1997 Sergei Loznitsa graduated from the Russian State Institute of Cinematography (VGIK). He studied Feature Filmmaking in the class of Nana Dzhordzhadze. From he work ed at the St. Petersburg Documentary Film Studio. In 2001, he and his family moved to Germany. A selection of his award-winning films includes: TODAY WE ARE GOING TO BUILD A HOUSE (1996), LIFE, AUTUMN (1998), THE TRAIN STOP (2000), SETTLE- MENT (2001), PORTRAIT (2002), LANDSCAPE (2003), FACTORY (2004), BLOCKADE (2005), ARTEL (2006), REVUE (2008), MY JOY (2010), IN THE FOG (2012), AUSTERLITZ (2016), and DONBASS (2018). GENRE Drama CATEGORY Feature YEAR OF PRODUCTION 2018 DIRECTOR Sergei Loznitsa SCREENPLAY Sergei Loznitsa CINE- MATOGRAPHY Oleg Mutu CAST Tamara Yatsenko, Liudmila Smorodina, Olesya Zhurakovskaya, Boris Kamorzin, Thorsten Merten, Sergei Russkin, Petro Panchuk, Irina Plesnyaeva, Zhanna Lubgane, Vadim Dobuvsky, Alexander Zamurayev, Gerogy Deliev, Valeriu Andriuta, Konstantin Itunin, Valery Antoniuk, Nina Antonova, Natalia Buzko, Sergei Kolesov, Svetlana Kolesova, Sergei Smeyan PRODUCER Heino Deckert PRODUCTION COMPANY ma.ja.de. Fiction, in co-production with Arthouse Traffic, JBA Production, Graniet Film, Wild at Art, Digital Cube RUNTIME 120 min LANGUAGE Russian, Ukrainian FESTIVALS Cannes 2018 (Un Certain Regard Opening Film) SALES Pyramide Films sales@pyramidefilms.com 4

5 GFQ IN CANNES Pandora Film Produktion IN MY ROOM Armin is getting too old for his night life habits and the woman he likes. He s not really happy, but can t picture living a different life. One morning he wakes up: the world looks the same as always, but mankind has dis - appeared. A film about the frightening gift of maximum freedom. ULRICH KÖHLER was born in 1969 in Marburg and studied Fine Arts in France, Philosophy in Hamburg and later Visual Communication at the University of Fine Arts in Hamburg, where he also made his first short films. His feature films BUNGALOW and WINDOWS ON MONDAY premiered in the Berlinale Forum and have screened at many festivals worldwide, winning national and international awards. His film SLEEPING SICKNESS premiered in Competition at the Berlinale and won the Silver Bear for Best Directing. GENRE Drama CATEGORY Feature YEAR OF PRODUCTION 2018 DIRECTOR Ulrich Köhler SCREENPLAY Ulrich Köhler CINEMATOG - RAPHY Patrick Orth CAST Hans Löw, Elena Radonicich, Michael Wittenborn, Emma Bading, Kathrin Resetarits, Ruth Bickelhaupt PRODUCERS Christoph Friedel, Claudia Steffen PRODUCTION COMPANY Pandora Film Produktion, in co-production with Echo Film, Komplizen Film, WDR, ARTE RUNTIME 120 min LANGUAGE German, Eng lish FESTI- VALS Cannes 2018 (Un Certain Regard) SALES The Match Factory info@matchfactory.de 5

6 IN CANNES GFQ SEARCHING FOR INGMAR BERGMAN Börres Weiffenbach Iam often asked whether I have a particular role model. Who is my favorite director? My answer is always the same: Ingmar Bergman. Of course, there are many film directors who are important to me, but he was the first whom I perceived as an artist and who sparked the wish within me to make films myself. Margarethe von Trotta 40 years later and after having directed some 24 of her own films, von Trotta set off to explore the trail left by Bergman in the world of film. She still has tremendous respect for the master, but she embarks on a personal journey through the Bergman universe, his films and his life, visiting original locations and places to find out what was typical of Bergman. And she talks to members of his family and companions, who worked with him for many years. His female characters and a fresh interpretation of his masterpieces are key elements of this quest. But what significance does Bergman have for today s generation of filmmakers? Aside from his internationally renowned actresses (Liv Ullmann, Gunnel Lindblom, Julia Dufvenius), his working companions and Bergman experts, von Trotta also met with different generations of directors from different countries: from Carlos Saura and Olivier Assayas, to Ruben Östlund and Mia Hansen Løve. During the talks with her colleagues, von Trotta asks: Which films and which scenes inspired you? And what remains of Bergman of his thoughts, his characters and his significance to the history of cinema? MARGARETHE VON TROTTA ranks among the most important female directors in German cinema since the 1970s, during which time she also made a name for herself as an actress. Today primarily active as a screen - writer and director, her most well-known films include: THE LOST HONOR OF KATHARINA BLUM (1975, in co-direction with Volker Schlöndorff), THE SECOND AWAKE- NING OF CHRISTA KLAGES (1977), SISTERS OR THE BALANCE OF HAPPINESS (1979), MARIANNE AND JULIANE (1981), SHEER MADNESS (1983), ROSA LUXEMBURG (1985), THE AFRICAN WOMAN (1990), THE LONG SI- LENCE (1993), THE PROMISE (1994), ROSEN- STRASSE (2003), I AM THE OTHER WOMAN (2006), VISION (2009), HANNAH ARENDT (2012), FORGET ABOUT NICK (2017), and her first documentary SEARCHING FOR INGMAR BERGMAN (2018), among others. GENRE Art, Film History CATEGORY Documentary YEAR OF PRODUCTION 2018 DIRECTOR Margarethe von Trotta CINE - MATOG RAPHY Börres Weiffenbach PRO - DUCTION COMPANY C-Films (Deutschland), in co-production with Mondex et Cie RUN- TIME 96 min LANGUAGE German, Swedish, English, French FESTIVALS Cannes 2018 (Cannes Classics) SALES CMG Cinema Management Group info@cinemamanagementgroup.com 6

7 efp producers on the move presented by efp european film promotion at the cannes film festival 2018 Veselka Kiryakova Red Carpet Bulgaria Esko Rips Nafta Films Estonia Fabian Massah Endorphine Production Germany Lukas Trimonis in SCRiPT Lithuania Biljana Tutorov Wake Up Films Serbia Luisa Romeo Frida Films Spain Oliver Sertić Restart Croatia Birgitta Björnsdottir Vintage Pictures Iceland Radovan Síbrt Pink Czech Republic Miia Haavisto Tekele Productions Finland Marco Alessi Dugong Films Italy Frank Hoeve BALDR Film The Netherlands Peter Badač BFILM Slovak Republic David Herdies Momento Film Sweden Per Damgaard Hansen Masterplan Pictures Denmark Nicolas Anthomé Bathysphere Productions France Aija Berzina Tasse Film Latvia Åshild Ramborg Maipo Film Norway Rok Sečen Monoo Slovenia Katrin Renz Tellfilm Switzerland EFP is a unique network of 38 European member organisations who represent films and talent from their respective territories. Under the EFP flag, they team up on initiatives to jointly promote the diversity and the spirit of European cinema and talent at key international film festivals and markets. Contact in Cannes cannes@efp-online.com Participating EFP members Bulgarian National Film Center, Croatian Audiovisual Centre, Czech Film Center, Danish Film Institute, Estonian Film Institute, EYE International/The Netherlands, Film Center Serbia, Finnish Film Foundation, German Films, Icelandic Film Centre, ICAA/Spain, Istituto Luce Cinecittà/Italy, Lithuanian Film Centre, National Film Centre of Latvia, Norwegian Film Institute, Slovak Film Institute, Slovenian Film Center, Swedish Film Institute, Swiss Films, UniFrance EFP is supported by Event partner

8 DIRECTOR S PORTRAIT GFQ PEOPLE IN HOUSES, BUT NOT AT HOME A PORTRAIT OF DIRECTOR ULRICH KÖHLER Annette Hauschild/Pandora Film Produktion In Ulrich Köhler s debut film BUNGALOW one minor character says: I come from here; we live here. The film is set in the provinces of central Germany, in Hesse, but words like these could never pass the lips of a leading character in any of the film - maker s works. Köhler was born in 1969, and it is true that his œuvre to date consists of only three films BUNGALOW (2002), WINDOWS ON MONDAY (2006), and SLEEPING SICKNESS (2011); and the fourth, most recent film IN MY ROOM is celebrating its premiere this year in Cannes Un Certain Regard. Nevertheless, it is not wrong to speak of an œuvre: Köhler s films are linked interestingly via their motifs and references. And identification with place is clearly not one of them. 8 Ulrich Köhler currently lives in Berlin-Prenzlauer Berg. There s a café where the film - maker drinks an espresso in the mornings, and often calls in to have one for the road in the evening, e.g. after a visit to the cinema. Such routines are alien to his film characters, because they live in places where they are not at home. In BUNGALOW, a young recruit called Paul deserts to his parents weekend cottage, where he encounters his older brother and the latter s girlfriend. This provides the basis for conflict, as the directionless, 19-year-old anti-hero with his still youthful, awkward body rejects the norms of social cohabitation. The idea, for example, that you don t fall in love with your older brother s girlfriend. In WINDOWS ON MONDAY, a young doctor, Nina, pregnant with her second child and in the midst of renovating a house with her husband Frieder, is the one who pulls away from the established norms of nuclear family life. Nina also flees to her parents empty weekend property, and from there through the forest to a hotel. She roams through its corridors, dropping into strangers parties, where she encounters an ageing professional tennis player, who is swinging his racket for a show. That s true, Köhler says when I enquire about his characters experiences of alie n - ation. I have always had the sense that I didn t belong. In Africa we were the children of the white development aid workers, the ones who had the toys and could decide who

9 GFQ DIRECTOR S PORTRAIT their friends were. We exploited that shamelessly. For four years, between the ages of five and nine, Köhler and his brother lived in Mobutu Sese Seko s Zaire. We arrived there straight after the Rumble in the Jungle box - ing match between Muhammad Ali and George Foreman. People were calling out: Ali, buma ye! and wearing Ali T-shirts. His impressions of that time play a part in SLEEPING SICKNESS. The film is about a doctor, Ebbo Velten, whose time in Africa is actually coming to an end. As opposed to what may be suggested in the first half of the film, however, he will not have returned to Germany, to Wetzlar in Hesse, when after a brilliant cut French doctor Alex Nzila from the World Health Organization travels to Cameroon to evaluate a sponsored project in the second half of the film. Two outsiders in the wrong place encounter each other in Velten and Nzila: the German doctor who seems unable to return home after long years in a foreign country, and Nzila, the son of a Congolese father, who doesn t understand his ancestors country. When studying at the Hamburg State Academy of Higher Artistic and Scientific Education during the nineties, he was regis - tered at the same time as Jonathan Meese and Daniel Richter. If I had stuck to art, Köhler jokes, I would be rich and famous today. But since then he has developed further in the direction of film, and after BUNGALOW he has been considered part of the so-called Berlin School. This is a frequently overused label, but Köhler has no problem with it: A group of filmmakers who know and appreciate each other s work, and sometimes make use of similar references. But you could probably make out just as many differences. And what is IN MY ROOM about? In the broad est sense, the film is a Robinsonade. That doesn t sound as if anyone has deep roots in the place he is living. But how could he after all, we are talking about the protagonist in a film by Ulrich Köhler. Matthias Dell 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

10 DIRECTOR S PORTRAIT GFQ WORKING PARTNERSHIPS A PORTRAIT OF DIRECTOR INA WEISSE Stefan Klüter Television audiences are sure to have come across Ina Weisse in episodes of the TATORT or POLIZEIRUF crime series or the award-winning TV film THE END OF A NIGHT, which garnered her a German Television Award, Grimme Prize and Günter Rohrbach Award for her acting per - formances. In addition, she has appeared in numerous German feature films over more than 20 years, from REAL GUYS through SAMS IN DANGER to NOTHING BUT GHOSTS and, most recently, Florian Henckel von Donnersmarck s latest film, WORK WITHOUT AUTHOR. But what many cinema-goers and TV viewers might not be aware of is that Ina Weisse has cultivated another string to her bow as a screenwriter and director with a handful 10 of shorts, the debut feature THE ARCHITECT, a documentary on the Neue Nationalgalerie, and a second feature DAS VORSPIEL set to go into production this autumn. I had made short films as a child together with my father during the school holidays, Weisse recalls. My father was a passionate filmmaker with his 8mm camera the films he made about the time working with Mies van der Rohe appear in my documentary on the Neue Nationalgalerie and so it was only natural for me to want to work with the visual medium. What s more, I was an avid cinema-goer as a child and would regularly go to the [now closed] Studio Cinema at Adenauerplatz as well as the Bali in Zehlendorf. She also acquired her first taste of directing when attending the Waldorf school in Zehlendorf where I had plenty of practice of both acting as well as taking on the role of the director. It was always part of the same thing for me, never a case of either one or the other. Weisse had also caught the acting bug at an early age after going to the Schaubühne theater on Berlin s Kurfürstendamm: I was especially fascinated by the work of Klaus Michael Grüber and the way he treated time in a production like An der Grossen Strasse. I saw people on stage working with text in plays like The Three Sisters in the staging by Peter Stein and knew that this is what I also wanted to do.

11 GFQ 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 I had already tried my hand at making shorts in the past, but it had always been a plan of mine to go to film school to learn the craft on a daily basis over two years, she explains. It was a great experience and preparation for what I wanted to do later on. Indeed, Weisse made an impact with her graduation film ALLES ANDERS about identity and betrayal which won the First Steps Award in And it was this film which caught the attention of Wim Wenders who recommended Weisse as a highly pro - mising talent to his then partner at Reverse Angle Pictures, Peter Schwarzkopff, to work together on her feature debut. The result in 2008 was THE ARCHITECT which premiered at the Hof International Film Festival that autumn and was screened the following year at the Filmfestival Max Ophüls Preis in Saarbrücken and in the German Cinema sidebar at the Berlinale. Weisse succeeded in attracting an impressive line-up for the cast with Bavarian actor Josef Bierbichler as the title character, with Belgian actress Hilde van Mieghem as his wife, Sophie Rois as a former flame, and Sandra Hüller and Matthias Schweighöfer playing the couple s grown-up children. In the film, Bierbichler as the successful Hamburg architect Georg Winter travels with his family to a snowy mountain village for his mother s funeral. An encounter with Rois character and her son Alex at the funeral ceremony drags the family into a vortex of desires and confusion of which there is no escape when the village is cut off from the outside world by an avalanche... This debut marked her first collaboration with the Greek-born screenwriter Daphne Charizani who is a director in her own right with such credits as the documentary MAKE- UP and the fiction feature MADRID. We met through a common friend and it didn t take long before we knew that we were on the same wavelength and shared similar interests, she recalls. That makes things so much easier when you know that both of you are thinking in the same direction. I like work - ing with a co-author because there s the danger of just going around in circles when you are writing alone. Of course, there are times when you have to work on your own on a screenplay, but I like this kind of working partnership. In fact, the collaboration went so well be - tween Weisse and Charizani that they have been working together on her second feature film project, DAS VORSPIEL, which will see Nina Hoss cast as a violin teacher in conflict with her profession. Music played an important role in THE AR- CHITECT and it will be at the center of my new project, Weisse explains. What fascinates me is the process of how music is created. The husband of Nina Hoss character is a violin maker, so this will be an opportunity to show how sounds evolve. DAS VORSPIEL is being produced by the upand-coming producer Felix von Boehm s Berlin/Heidelberg-based company Lupa Film, whose recent credits include Karim Ainouz s award-winning documentary CENTRAL AIR- PORT THF and Joya Thome s debut THE QUEEN OF NIENDORF. Weisse had previously worked with von Boehm, who is the son of the TV presenter Gero von Boehm, on her documentary DIE NEUE NATIONALGALERIE which included interviews with her father Rolf Weisse, who had worked at the office of Mies van der Rohe in Chicago during the planning of the art gallery in the 1960s, as well as with van der Rohe s grandson Dirk Lohan and the architect David Chipperfield, who is overseeing the gallery s renovation. Since the film is being planned as a German- French co-production with Pierre-Olivier Bardet s Idéale Audience, it was fortuitous that von Boehm had grown up in France and can speak French fluently. Felix is brimming with energy and full of ideas which is really quite refreshing, Weisse continues. And he was the one who introduced me to Margaret Ménégoz who is set to handle the distribution of the film in France. Raising the finance for the film wasn t a walk in the park, she admits, but Medien - board Berlin-Brandenburg, the FFA-CNC Mini-traité and broadcaster ZDF are already onboard, and other partners are now likely to follow to close the financing so that principal photography can begin this October in Berlin. Martin Blaney 11

12 PRODUCERS PORTRAIT GFQ Rafael Parente, Korbinian Dufter, Simon Amberger ( Andreas Pfohl) TEAM SPIRIT A PORTRAIT OF PRODUCTION COMPANY NEUESUPER We have always liked to work as a team, says Rafael Parente, one of the three producers along with Simon Amberger and Korbinian Dufter, who set up the Munich-based NEUESUPER Filmproduktion during their studies at Munich s University of Television & Film (HFF) in Even before their graduation from the HFF, the trio had produced several short films such as Benjamin Pfohl s TOTES LAND and Susan Gordanshekan s EISBLUMEN as well as a couple of feature films ADA by Mirjam Orthen and the international co-production EASTALGIA by Daria Onyshchenko. And from the outset, we thought that it would be better to work as three producers together rather each of us trying to make it on our own, Amberger recalls. We were also very clear in our minds of the goal of wanting to make films for a wide audience, Korbinian Dufter adds. With some of our films, we have 12 gone in the direction of arthouse. As in the collaboration with the latest feature film by Hans Weingartner, 303, which had its world premiere in the Berlinale s Generation 14plus section in February. We will always search for both things: relevant content and an audience. That s why we re so enthusiastic about the current momentum in television industry. The young company which also works for clients in the advertising world as well for cinema and TV did the rounds of the offices of TV commissioning editors with story ideas for series and TV movies, but that all important green light to go into production wasn t forthcoming. However, the newcomers had their lucky break into the TV market when they pitched an idea for a sitcom series to the fledgling public channel ZDFneo as part of its TV Lab in The three finalists from the pitches were each given a budget to produce a pilot episode of their series, Amberger explains. The pilots were then broadcast by ZDFneo over the course of one evening in August 2014 and the audience voted on its favorite of the three, with the overall winner getting the commission to produce a whole series. NEUESUPER s pilot of what later became the quirky sitcom BLOCKBUSTAZ about an un - employed rapper (played by Eko Fresh) in a Cologne high-rise housing estate went down a storm with the ZDFneo audience and paved the way for the company s subsequent development as a purveyor of high-end television. I think it was a good fortune for us as a young company that the viewers were the ones deciding on the winner, Dufter says. It was much easier than having to follow the classical path of needing to convince a commissioning editor as newcomers to the industry. The audience made it very clear that they wanted to see a series based on the pilot and we received five times as many votes as the next finalist, he continues. The pilot fitted in with the image ZDFneo was wanting to promote and our success was also partly

13 GFQ PRODUCERS PORTRAIT down to our strategy of using YouTube stars like Eko Fresh and Joyce Ilg who already have their own fan base. Aired in 2015, the six-part series proved to be one of the most successful series ever commissioned by ZDFneo and prompted the broadcaster to order a second season this time with 12 episodes which came on air at the end of March Another pitching competition organized by Bavarian Television (BR) and the HFF Free TV! in autumn 2014 landed the producing trio their next big commission for HINDAFING, although their proposal was not the final winner! Reinhard Scolik, Bettina Ricklefs and Elmar Jaeger at BR recognized the series potential and said what we had shown in a specially produced trailer would be a perfect fit for Bavaria right down to the story and the actors we had cast, Parente recalls. This satirical six-parter about a crystal meth-addicted mayor (played with relish by former European Shooting Star Maximilian Brückner) in a Bavarian backwoods was something fresh and new, unlike any other Bavarian series being shown on television at the time. It was also important for us as a company at the time that we had people who supported us and believed in the potential of our projects, Dufter notes. Airing on BR from mid-may last year after premiering on the web (br.de/hindafing) and in BR s online mediatheque, HINDAFING has since gone on to garner nominations from the prestigious Grimme Institute and the German Academy for Television. In addition, the SVOD rights for Germany were sold last autumn to Netflix and the US remake rights to the series were snatched up by Fox 21 Television at the beginning of this year. We are now in talks to produce a second season of HINDAFING, Amberger adds. As HINDAFING went on air, NEUESUPER embarked on production of its third series project, EIGHT DAYS (ACHT TAGE) this time as a commission for the pay TV platform Sky Deutschland. We had been developing the project for some time and at a point when Sky hadn t yet decided to begin getting involved in co-producing local TV series, Amberger recalls. Sky really put their trust in us and believed that we would be able to tackle such an ambitious project as EIGHT DAYS, he con - tinues. This production was another significant step, both in terms of budget and production value for us as a company. The doomsday scenario focuses on what will probably be the last days of humanity as a giant asteroid rushes towards Earth. It was also a conscious move by us to have an ex - perienced director working with a young one on the series, Dufter explains. With some - one like Stefan Ruzowitzky [who received the Foreign Language Film Oscar for THE COUNTERFEITERS], we brought someone onboard who has lots of knowledge of working on TV series and also is adept at directing action. And he has a reputation and standing recognized by the broadcasters. At the same time, we wanted to have a young voice being represented here, a filmmaker from our generation at the HFF, he continues. So we picked Michael Krummenacher who studied Directing at the HFF in Munich from 2006 to EIGHT DAYS is set to air in Germany, Switzerland and Austria later in The past seven years have seen NEUE - SUPER s producing trio evolving and adapting as its production output expanded. At the beginning, we developed, financed and produced the projects together, but with time, we realiz - ed that things would be more efficient if each one of us had specific responsibilities, explains Dufter who, for example, now oversees the company s day-to-day administration and the financing of the projects as well as personnel issues. We have always seen NEUESUPER as a vehicle to realize story ideas that we had developed ourselves, he notes. We see our - selves as creative producers working together in a team with the creatives: we are as much involved in helping to develop the screenplays for the shorts at the beginning of the company s history as in brainstorming ideas for the pitches to advertising clients or to broadcasters. Our goal is to be involved creatively from the earliest stages of our projects, Amberger says, pointing out that NEUESUPER is always open to becoming a production partner on third party projects. From the outset, the trio have sought to foster long-standing working relationships, particularly with screenwriters, to collaborate on their projects, like Niklas Hoffmann, Peter Kocyla, Benjamin Seiler, Frederick Schlofield and writer-directors like Boris Kunz, Jakob Lass and Jakob Erwa. Niklas Hoffmann, for example, has worked with NEUESUPER since 2014 as he studied Screenwriting at the HFF: he wrote the screenplay for the pilot for BLOCKBUSTAZ and then wrote three episodes of the re - sulting series as well as serving as head writer for the sitcom. In addition, Hoffmann devised the concept and script for HINDAFING together with Boris Kunz and NEUESUPER producer Rafael Parente and returned to BLOCKBUSTAZ last year for its second season where he penned four episodes and was responsible again as head writer. He is now working with Parente and another NEUESUPER regular, Peter Kocyla, on developing the screenplay for another TV series in the making, LUDEN (HAMBURG HUST- LING), with Jan Mojto s Beta Film as co-producer. Meanwhile, writer-director Kocyla, who is also a graduate of Munich s HFF and worked in the past on scripts for the ZDF series DIE CHEFIN, devised the concept and penned the scripts for EIGHT DAYS. Our core team of writers is very open to the idea of working in a writers room, Dufter says. Previously, you would have an author working all alone and then getting occasional feedback from the producer or a commission - ing editor. However, our strategy is to involve our authors increasingly in the decision-mak - ing process about, say, the casting or the choice of director. I think they can have a really positive influence because they are so close to the story. NEUESUPER may be focused on working for television for the moment, but that doesn t mean that they have turned their backs on cinema indeed, a number of feature film projects are in development. At the same time, we have developed considerable expertise in high-end TV and have an edge over other companies, Amberger explains. We all share a great passion about staying active in this particularly exciting segment for the fore - seeable future. Martin Blaney 13

14 ACTOR'S PORTRAIT GFQ EXPLORING INNER WORLDS A PORTRAIT OF ACTOR GODEHARD GIESE Giovanni De Francesco 14

15 GFQ ACTOR'S PORTRAIT Sebastian Fräsdorf Alice Pehlivanyan William Peiro Godehard Giese Karin Hanczewski 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 SEBASTIAN FRÄSDORF, KARIN HANCZEWSKI, ALICE PEHLIVANYAN, GODEHARD GIESE, WILLIAM PEIRO, BILDGESTALTUNG WILLI BÖHM, MONTAGE ANNA KAPPELMANN, SZENENBILD BABETT KLIMMECK, ORIGINALTON PHILIPPE BOUCHEZ, SOUNDDESIGN IVAN BROUSSEGOUTTE, MISCHUNG MARVIN H. KEIL, CASTING UWE BÜNKER UND NATHALIE CHÉRON, DREHBUCH UND REGIE TOM SOMMERLATTE, PRODUZENTIN IRIS SOMMERLATTE A FILM BY JULES HERRMANN LIEBMANN STARRING GODEHARD GIESE, ADELINE MOREAU, FABIEN ARA, BETTINA GRAHS SOUND RECORDIST TOBIAS RÜTHER SOUND DESIGN MICHAŁ KRAJCZOK MUSIC BY CHRISTIAN HALTEN, ZAAL33, SEBASTIAN KIEFER PRODUCTION DESIGN NICOLA MINSSEN ASSISTANT DIRECTOR SARAH DRATH EDITED BY JULES HERRMANN DIRECTOR OF PHOTOGRAPHY SEBASTIAN EGERT WORLD SALES PATRA SPANOU PRODUCED BY JULES HERRMANN, ROSWITHA ESTER, TORSTEN REGLIN lm.de Godehard Giese is relaxing in Rome during our Skype con - versation. It s a sunny spring morning and the actor with the sharp, lucid eyes is quite laid-back as he sips his coffee. Giese is taking a break. Which is surely a good thing, as he has been extremely busy in recent years. In February, he was in the Berlinale competition with TRANSIT, the refugee drama shot by Christian Petzold in Marseille and since fêted by the critics. He also acted in Wim Wenders SUB - MERGENCE, which was shown in Toronto in 2017, and in A CURE FOR WELLNESS under the direction of Gore Verbinski. He can be spotted in all the important quality German TV series, as well: in BABYLON BERLIN by Tom Tykwer, Henk Handloegten and Achim von Borries, DAS VERSCHWINDEN by Hans- Christian Schmid, THE SAME SKY by Oliver Hirschbiegel, and the series DEUTSCHLAND 83 produced by Nico Hofmann. But his love of Italy is even older than his act ing career. Giese, born in 1972, first studied Italian at the Humboldt University in Berlin arriving at acting as an indirect result. One professor of Italian staged theater plays with her students. I took part in them and immediately I knew: this is exactly what I want to do. At the age of twenty-four he applied to the Acting class at the Berlin University of the Arts, where he studied from 1997 to After completing his training he spent two years at the theater in Hildesheim. Giese was not even considering film at that stage, as he tells me amidst some laughter: My lecturer at acting school said I wasn t compatible with film work. He advised me against it. That lecturer has been proven wrong. In 2005 Giese caught the attention of Jules Herrmann, who cast him in her film academy graduation film. This marked the start of Giese s film career. He has continued to collaborate with Herrmann to the present day. In her feature film debut LIEBMANN in 2016, he played the role of a German teacher who is spending the summer in a French village, hoping to come to terms with a recent traumatic event. The film premiered at the 2016 Berlinale in the section Perspektive Deutsches Kino, and after an international festival tour it was nominated for the European Film Award in the Discovery category. Tom Sommerlatte s comedy SUMMERS DOWNSTAIRS, in which Giese also plays a man spending the summer holidays in France, followed the same route a year before. Giese s Liebmann is a fascinating character, damaged and yet self-righteous, who wears protective armour but is filled with sexual energy, nonetheless. For me, LIEBMANN is a special film. We had the complex idea for a character but there was no screenplay, just an outline. A huge set like that of BABYLON BERLIN and the intimate and improvised film ing of LIEBMANN may be worlds apart, but such differences are what attract Giese: It s important to stay alert in the actor s profession, so that you can react directly. You don t have more than a moment. So you need to engage with the material. That s why I take on many different projects, so that I don t slip into a routine. In our conversation, Giese returns again and again to the process of shooting. Acting for him means preparing well, so that at the moment of recording he is able to let go, to allow himself to be challenged, to be catapulted into a state of excitement that is truly wonderful. His own experience as a director has helped him here. His directing debut, THE STORY OF THE ASTRONAUT, received an award at the festival Achtung Berlin in 2014 (where he also won the prize for Best Actor in 2015 for his role in SUMMERS DOWN - STAIRS). The fact that I made my own film has helped me to gain an outside impression of myself as an actor. Giese is especially enthusiastic about the atmosphere during the filming of Petzold s TRANSIT in Marseille and the way in which the city and its architecture influenced his character. I make an attempt to lay out my character s inner, mental world. And external influences always help to shape it. As an actor, he visualizes this mental space once again in the external world it s the same in my own film, THE STORY OF THE ASTRO- NAUT, when a woman writer s mental world is projected onto the landscape of Mallorca. In this way Giese expands on his characters inner worlds, translating them into an extremely physical and yet intimate style of acting. What other colleagues have inspired him dur ing this process? Recently, I have been most impressed by Jean-Pierre Léaud in THE DEATH OF LOUIS XIV. He is one of my great heroes anyway, just like Albert Finney. He s not afraid to make himself ridiculous. And there is one more, or perhaps two: Naturally, there is something about Marcello Mastroianni s elegance as well. And Gian Maria Volonté. He gives his characters immense clarity with his strength and serenity. Did he think of them because he happens to be in Rome at the moment? Smiling, he adds: It s my Italian side coming out, I suppose. Philipp Stadelmaier 26 15

16 NEWS & NOTES GFQ NEWS 1 & NOTES KINO! 2018: GERMAN FILMS IN THE BIG APPLE Opening night guests at KINO! 2018 ( Alberto Reyes) GDR history, warring banks or bar talks the fifth edition of KINO!2018 Festival of German Films in New York (6 12 April 2018) was held for the first time in New York s latest state of the art (Deadline) arthouse cinema Landmark at 57 West. Nine new productions, a silent film and the NEXT GENERATION SHORT TIGER 2017 program of shorts were presented by seven guests. 16 The screening of IN TIMES OF FADING LIGHT followed by a Q&A with the director Matti Geschonneck opened the festival and was very well re ceived. Directed by Christian Schwochow, the first two episodes of the series BAD BANKS, were shown in the attendance of producer Lisa Blumenberg and actress Désirée Nosbusch. WHEN PAUL CAME OVER THE SEA, which was named Best Documentary at the Shanghai Inter - national Film Festival, was presented by director Jakob Preuss, who also took part in a packed panel discussion moderated by Professor Noah Isenberg and organized by the Deutsches Haus at NYU. The supporting program included a round - table talk on FRAUEN POWER: German Women Filmmakers Making Their Mark. Lisa Blumenberg and Désirée Nosbusch took part along with Marieke Schroeder, the director of BAR TALKS BY SCHUMANN. She was joined by the film s charismatic protagonist, the bartend ing institution Charles Schumann, for a Q&A. In addition, director Nick Baker-Monteys answered the audience s questions about THE FINAL JOURNEY. Connoisseurs of German film classics loved the silent film VARIETÉ by Ewald André Dupont presented in cooperation with Bertelsmann. The live musical accompaniment was provided by the pianist and multi-instrumentalist Stephen Horne and percussionist Martin Pyne. Ira Deutchman, a professor at Columbia University and a film producer, introduced the film. The VoD service Fandor was the exclusive partner of the KINO! Audience Award for the third year in a row and created a curated online program of German Festival Favorites for U.S. online viewers. This year s Audience Award went to the series BAD BANKS, which is available in the U.S. on Hulu.

17 GFQ NEWS & NOTES 2 3 FFF Bayern Peter Dinges, Christine Berg, Monika Grütters, Bernd Neumann, Frank Völkert ( Ulf Büschleb) 2 FFF WRITERS DELEGATION AT SXSW With support from FilmFernsehFonds Bayern, a delegation of Bavarian writers participated at this year s SXSW Conferences & Festival in Austin, Texas. The trip signals FFF Bayern s aim to strengthen its support for screenwriters and further develop its international activities and networks. Five writers participated in the Writers Delegation: Natalie Spinell, Andy Wolff, Niklas Hoffmann, Christian Lex and Anne Keßel. Two mentors Egbert van Wyngaarden and Philipp Schall from Transmedia Bayern, which also offered financial support to the delegation, accompanied the group and the FFF funding executive Lisa Giehl. The Writers Delegation program gave the writers access to numerous events at SXSW concentrating on storytelling, artificial intelligence and digital content, as well as a Bavaria-Québec Dinner sponsored by FFF Bayern, the Representation of the Québec Government, and the Representation of the Free State of Bavaria in Québec. 3 HAPPY BIRTHDAY FFA: 50 YEARS OF FILM FUNDING On 6 March 1968, the German Federal Film Board (FFA) was established in Berlin and five decades later, in 2018, it is celebrating it s 50th birthday. And the anniversary also represents half a century of German film history. Supported film classics, which are exemplary for the quality and diversity of German filmmaking, include Rainer Werner Fassbinder s THE MARRIAGE OF MARIA BRAUN, Volker Schlöndorff s THE TIN DRUM, Wolfgang Petersen s THE BOAT, Wim Wender s PARIS, TEXAS, Caroline Link s NOWHERE IN AFRICA, and Tom Tykwer s RUN LOLA RUN. Over the course of the last 50 years, the German Federal Film Board has awarded over 1.6 billion euros in funding support for production (for some 4,000 feature films and 1,000 screenplays), distribution and film theaters. In addition to its task as a funding institution, the German Federal Film Board also acts as a central service provider for the entire German film industry and as a moderator for the future challenges of the film industry. The German Federal Film Board celebrated this milestone anniversary with a gala on 6 March 2018 in Berlin with some 500 guests from the film industry, funding, politics and culture. On the occasion of the event, Bernd Neumann, president of the German Federal Film Board, emphasized the fact that it is also the Film Board s task for the future to protect, strengthen and maintain the existence of a cinematic culture, and confirmed the importance of the cinema as a premium location, even in times of new digital media. State Minister for Culture Monika Grütters congratulated the Film Board as an internationally unique levy-based film funding, which is sustained by a sense of solidarity and honored the funding institution as an indispensable partner for film policy. 17

18 NEWS & NOTES GFQ IN THE AISLES ( Sommerhaus Filmproduktion/Anke Neugebauer) FEST ( Nikita Diakur) 4 IN THE AISLES WITH MFG BADEN- WÜRTTEMBERG After her leading role in Maren Ade s worldwide hit TONI ERDMANN, Sandra Hüller returns in Thomas Stuber s latest feature IN THE AISLES, alongside European Shooting Star Franz Rogowski (VICTORIA) and Peter Kurth (BABYLON BERLIN) to form a topclass cast. The three actors play out Clemens Meyer s story about three co-workers at a supermarket. Christian (Rogowski) is the new guy and in charge of stocking the shelves. Bruno (Kurth) is his colleague in the beverage section and acts as a father figure, taking him under his wing and teaching him all the tricks. Marion (Hüller) works in the next aisle and, although she is actually married (to a thug, no less), she takes a shine to Christian. Despite all odds, they offer each other support in life; a life which outside of the supermarket seems to be almost un - bearable. But inside, it s their own little world. MFG Baden-Württemberg, together with Mitteldeutsche Medienförderung, BKM, Medienboard Berlin-Brandenburg, and the German 6 Federal Film Fund supported the film produced by the Ludwigsburg-based Sommerhaus Filmproduktion, in cooperation with the broadcasters MDR, ARTE, SWR and HR, and co-produced with Departures Film and Rotor Film. The film was shot in part in Karlsruhe and took home two independent film prizes from the Berlinale: the German Film Guild Award and Ecumenical Jury Award. 5 DIANE KRUGER SHOOTING AGAIN IN NRW For her role in Fatih Akin s Golden Globewinner IN THE FADE, Diane Kruger was awarded the Best Actress prize at the Festival de Cannes in And once again, she will soon be shooting in North Rhine- Westphalia for a new feature supported by the Filmstiftung NRW and the Israel Film Fund, taking on the leading role in Israeli director Yuval Adler s upcoming film THE OPERATIVE. A large part of the principle photography will be taking place in NRW and the film is being co-produced by Michael Weber and Viola Fügen of the Cologne-based Match Factory Productions. In the thriller, Kruger portrays a young British woman who is recruited by the Israeli secret service Mossad for a covert mission in Tehran. Director Yuval Adler won the main prize of the Venice Days in 2013 for his political drama BETHLEHEM. 5 6 SHORT GERMAN ANIMATIONS IN ANNECY In 2018, a line-up of ten German animated short films, commissioned films and TV series will be presented in the official selection of the Festival International du Film d Animation in Annecy (11-16 June 2018), which is one of the most important festivals for animated film worldwide. With NOT MY TYPE (DE/CH) by Gerd Gockell and FEST by Nikita Diakur, there are two German ani - mated short films competing for the Cristal d Annecy in the International Competition. ANT by Julia Ocker and LINK by Robert Löbel were selected for the section Short Films Young Audiences. Another five German shorts have been invited to the competition for graduation films: AUGENBLICKE by Kiana Naghshineh, FOLLOWER by Jonathan Behr, FUSE by Shadi Adib, LOVE ME, FEAR ME by Veronica Solomon, and NOSIS by Vincenz Neuhaus. Furthermore, 32-RBIT by Victor Orozco Ramirez (DE/MX) is shortlisted for the Perspectives Short Films in Competition. Once again, both AG Kurzfilm (German Short Film Association) and German Films will attend the festival s film market MIFA and provide the international film scene and visitors with useful information and contacts regarding the range of German film makers and their animated films. A preview DVD with recent German animated short films will also be available at the booth in Annecy addressing festival representatives, curators, interested participants and buyers. Apart from this, the DVD is also available upon request from the office of AG Kurzfilm in Dresden. Diane Kruger ( Filmstiftung NRW/Hubert Bösl) 18

19 GFQ NEWS & NOTES AG Kurzfilm Fatih Akin, Diane Kruger, Denis Moschitto (courtesy of Bitters End) 7 GERMAN SHORT FILMS IN CANNES Once again AG Kurzfilm (German Short Film Association) and German Films offer a platform for German short films and short filmmakers during the 71th edition of the Festival de Cannes. As every year, some of the most recent short film productions are available at the Short Film Corner for international industry professionals. The selection German Short Films Cannes Edition 2018 containing eight current short films will be available at the Short Film Corner and on DVD at the German Pavilion. Additionally, for the eighth time, the program NEXT GENERATION SHORT TIGER cel ebrates its premiere in Cannes. It features not only film school productions but also the winners of the 2018 Short Tiger Award granted by the German Federal Film Board. Upon request, all films will be available on preview DVDs from German Films or AG Kurzfilm. In cooperation with ARTE, the German Short Film Association invites professionals from the German and international short film scene to their annual Short Film Lounge, giving filmmakers, festival representatives and buyers the opportunity to meet and connect. During the festival in Cannes, please contact us at the German Pavilion, Inter - national Village. 8 INDUSTRY SCREENINGS IN TOKYO For the third time, German Films organized industry screenings in Tokyo presenting seven new German films to Japanese distributors over the course of two days in March. As Japanese audiences have a particularly strong interest in historic and cultural issues, the Tokyo screenings aimed to widen this perspective by offering genre films like THIS CRAZY HEART, HANNA S HOMECOMING and the animated MANU THE SWIFT at the Nippon Film Art Cinema. Seven sales companies (ARRI Media International, Beta Cinema, Global Screen, Picture Tree Inter - national, Sola Media, The Match Factory, and Films Boutique) joined the event to present upcoming films to Japanese buyers and enforce their network in Japan, a country which is one of the strongest markets in Asia. German Films also took the opportunity to present the Distribution Support scheme to Japanese buyers and inform them of up - coming films as well as discussing a future cooperation with the Tokyo International Film Festival whose Artistic Director, Yoshi Yatabe, invited the delegation for a casual dinner in a typical Japanese location. The highlight of the Tokyo Screenings was the Japanese premiere of IN THE FADE in the presence of director Fatih Akin, and actors Diane Kruger and Denis Moschitto at the Human Trust Cinema Shibuya. The film tallied 5,200 admissions on the first weekend. 9 GERMAN FILM FESTIVAL DOWN UNDER German Films has partnered the German Film Festival in Australia for more than a decade. This year the event is organized by the well-established Palace Cinemas who are the traditional organizers of other national film events (for French, Brazilian and Italian cinema) and who hired project manager Bettina Kinski to supervise the German Film Festival 2018, which will take place in five cities (Sydney, Canberra, Melbourne, Brisbane, and Adelaide) and will include a program of 26 films as well as the short film program SHORT EXPORT Opening film of the event in Sydney on May 22nd will be Lars Kraume s recent Berlinale-contribution THE SILENT REVOLUTION; other films in the program include further festival successes such as THREE PEAKS, PAULA and 303 by Hans Weingartner, as well as the FACK JU GOEHTE trilogy. As partner of the event, the Goethe- Institut offers young audiences the pos - sibility to see six new films from Germany, including AT EYE LEVEL and ROBBY & TOBY S FANTASTIC VOYAGER. Closing film of the festival 2018 will be the restored version of Wim Wenders WINGS OF DESIRE. 19

20 NEW FILMS GFQ 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 for more information on German features, documentaries and shorts. SCHWIMMEN ( Paul Nungeßer) 20

21 GFQ NEW FEATURES Glory Film/Hendrik Heiden DIE DEFEKTE KATZE A DYSFUNCTIONAL CAT Mina s family has introduced her to a few potential husbands in Iran. She has rejected them all until she meets Kian, a surgeon who has travelled from Germany in search of a wife. It s not love at first sight, but rather the seduction of life in Europe that makes her consent. In his mid-30s, Kian is desperate for a wife to make his life appear complete. He takes his new bride back home, but marriage to a virtual stranger is more difficult than they imagined. SUSAN GORDANSHEKAN is a German filmmaker of Iranian origins. She first studied Communication Design (specializing in video and multimedia-design), but in the course of her studies she realized that her real passion was to make movies. After working for a German broadcaster and a film production company, she began studying Film at the University of Television and Film in Munich. Over the years, she has made several documentaries and three short fiction films. Notably, her documentary GARÇONS MANQUÉS and the short fiction ICE FLOWERS were screened at numerous films festivals worldwide. ICE FLOWERS premiered at the 61st Berlinale. In 2013/14, she attended the 27th session of Cinéfondation Residence of the Festival de Cannes in Paris where she developed her first feature film A DYSFUNCTIONAL CAT. GENRE Drama YEAR OF PRODUCTION 2018 DIRECTOR Susan Gordanshekan SCREEN- PLAY Susan Gordanshekan CINEMATOG - RAPHY Julian Krubasik CAST Pegah Ferydoni, Hadi Khanjanpour PRODUCER Ralf Zimmermann CO-PRODUCERS Natalie Lambsdorff, Monika Lobkowicz, Barbara Häbe PRODUCTION COMPANY Glory Film RUNTIME 93 min LANGUAGE German, Farsi FESTIVALS Berlinale 2018 SALES Media Luna New Films idamartins@medialuna.biz 21

22 NEW FEATURES GFQ Junafilm DRAUSSEN IN MEINEM KOPF Christoph begins his year of civil service at a nursing home as the personal caretaker for 28-year-old Sven. The seriously ill young man is suffering from muscular dystrophy and his nursing room has become his own little microcosm which he has been sovereignly controlling for years. Sven s humor comes across quite strange and somewhat threatening, which Christoph notices immediately. But after their first welcome crisis, Sven slowly allows Christoph into his world. He starts to open up and the two young men become friends. Genuine closeness and trust develop, allowing Sven to confide his inner most desires to Christoph. EIBE MALEEN KREBS was born in She studied Communication Design, Photography and Film in Hamburg. Her films include: ALTER EGO (2007), LOOKING FORWARD, LOOKING BACK (2008), VOM HÖREN SAGEN (2014), and DRAUSSEN IN MEINEM KOPF (2018). GENRE Drama YEAR OF PRODUCTION 2018 DIRECTOR Eibe Maleen Krebs SCREENPLAY Eibe Maleen Krebs, Andreas Keck CINEMA- TOGRAPHY Judith Kaufmann CAST Samuel Koch, Nils Hohenhövel, Eva Nürnberg, Lars Rudolph PRODUCER Verena Gräfe-Höft PRO- DUCTION COMPANY Junafilm RUNTIME 99 min LANGUAGE German FESTIVALS Film - festival Max Ophüls Preis Saarbrücken 2018 AWARDS Youth Award Max Ophüls Preis 2018 SALES Junafilm info@junafilm.de 22

23 GFQ NEW FEATURES FINT FONOTUNE: AN ELECTRIC FAIRYTALE In another time and place, where people barely communicate and an impending apocalypse is in the air, lone drifter Mono makes an odyssey to experience mysterious rock star Blitz s final cosmic performance out in the Big White Nothing, a desert surrounding the city. Here, people escape from reality, and each other, through music. A constant companion in their headphones is Radio, nihilistic DJ of radio station FONOTUNE, playing his own joyous soundtrack to destruction! On his journey, Mono shares fleeting connections with a gang of strangers: Teen-hooker Stereo, lo-fi cowboy Analog, and the sassy Bubblegum. Their paths finally collide in an audiovisual showdown with the mythical musician many thought dead or long-gone. They each carry Blitz s cassettes and vinyl; a strange and electrifying call-to-arms where he proclaims the Universe is my Rock-n-Roll! Destruction is my music!. The final explosive result is an incendiary performance to remember! And it may finally make them feel something. Influenced by Japanese cinema, graphic design and manga comics, FONOTUNE: AN ELECTRIC FAIRYTALE is a film about strange encounters, lost connections and just maybe the end of the world. FINT made his debut with AVANT*GARDE, a series discussing arthouse films and their directors which received wide spread critical acclaim. The documentary VISITING UWE, about the controversial filmmaker Uwe Boll, and several music videos, followed. FONO- TUNE: AN ELECTRIC FAIRYTALE is his feature debut. GENRE Art, Music, Science Fiction YEAR OF PRODUCTION 2018 DIRECTOR FINT SCREENPLAY FINT CINEMATOGRAPHY Jon Britt CAST Kiki Sukezane, Guitar Wolf Seiji, Kazushi Watanabe, Yuho Yamashita, FINT, Jiwoon Ha PRODUCERS Catherine Morawitz, Sven Schnell CO-PRODUCERS Marc Oliver Dreher, Martin Ludwig, Ian Marcks PRO - DUCTION COMPANIES STUDIO SABOTEUR, San Cinema, in co-production with MAMOKO Entertainment RUNTIME 78 min LANGUAGE Japanese SALES phantasticas connect@phantasticas.com 23

24 NEW FEATURES GFQ Mixtvision/Luis Zeno Kuhn FRAU MUTTER TIER MOTHER BEE MOTHER BEE is a warm-hearted comedy that takes an affection - ate and self-deprecating look at what it means to be a mother today. Marie (36), Nela (40) and Tine (22) represent three classic types of women. Marie was pretty late having children and is now overly ambitious to do everything just right. Nela is happy with her husband Lutz and their child, but this classic life model doesn t really fulfill her. Lutz takes advantage of the opportunity to be a father and house-husband so that Nela can try to get back into her career. And Tine is the youngest of the three and a single mom. She is trying to cope with the premature loss of her own childhood, her responsibility as a mother, her job and financial difficulties all the while hoping she will at some point find Mr. Right. In a humorous manner and with surreal means, MOTHER BEE presents the dilemma of the modern woman as a light, clever and somewhat quirky roundelay of endless and unexpected tasks, overload and illusions. FELICITAS DARSCHIN was born in After numerous internships in film and television, she set up her own production company in 2002 and studied Directing at the University of Television & Film Munich from Also active as a screen - writer, lecturer and producer, her films as a director include: ZWERG NASE (TV), IM BESTEN ALTER (TV), KÄSE LAIB UND LEBEN MARTHA UND JOSEF LOBIS ASCHEN PUTTEL (doc), DIE LOISACH EIN FLUSS MIT VIELEN GESICHTERN (doc), EXPEDITION INS UNBEWUSSTE DEN TRÄUMEN AUF DER SPUR (doc), WIEVIEL NATUR VERTRÄGT DER MENSCH? (doc), LIEBE LIEBER UNGEWÖHNLICH, and MOTHER BEE. GENRE Comedy, Drama YEAR OF PRODUC- TION 2017 DIRECTOR Felicitas Darschin SCREENPLAY Alexandra Helmig, Rudi Gaul CINEMATOGRAPHY Stefan Biebl CAST Julia Jentsch, Kristin Suckow, Alexandra Helmig, Brigitte Hobmeier, Annette Frier, Matthias Weidenhöfer, Michael Kranz, Florian Karlheim PRODUCERS Sebastian Zembol, Alexandra Helmig, Dagmar Kusche, Bernd Krause PRODUCTION COMPANY Mixtvision RUNTIME 92 min LANGUAGE German SALES Bavaria Media carlos.hertel@bavaria-media.de 24

25 GFQ NEW FEATURES SamFilm/Constantin Film Produktion/Marc Reimann/Hodder and Stoughton Ltd. FÜNF FREUNDE UND DAS TAL DER DINOSAURIER THE FAMOUS FIVE AND THE VALLEY OF DINOSAURS Another long summer holiday brings more adventures for George, Julian, Dick, Anne and Timmy the dog, when they meet Marty Bach, a young man who appears at first to be behaving rather oddly. It turns out his deceased father had discovered a supposedly intact dinosaur skeleton, but crooks have stolen the code that reveals the coordinates to the legendary Valley of Dinosaurs. If the kids, Marty, and, of course, Timmy can t rescue the code and get to the valley first, the priceless bones will be lost forever. MIKE MARZUK was born in 1969 in Landsberg am Lech. Since 1995 he has been work - ing as an editor, musician, writer and director for short and feature films as well as video clips. His films include: WWGW* *WEISST WAS GEIL WÄR...?! (2007), SUMMER (SOMMER, 2008), ROCK IT! (2010), and all five of the THE FAMOUS FIVE films. GENRE Family Entertainment YEAR OF PRO- DUCTION 2018 DIRECTOR Mike Marzuk SCREENPLAY Mike Marzuk CINEMATOG - RAPHY Philip Peschlow CAST Allegra Tinnefeld, Amelie Lammers, Marinus Hohmann, Ron Antony Renzenbrink PRO - DUCERS Ewa Karlström, Andreas Ulmke- Smeaton PRODUCTION COMPANY SamFilm, in co-production with Constantin Film Produktion RUNTIME 101 min LANGUAGE German FESTIVALS TIFF Kids 2018 SALES Beta Cinema beta@betacinema.com 25

26 NEW FEATURES GFQ wtp international DER GESCHMACK VON LEBEN TASTE OF LIFE What does life taste like? For joyful Nikki the answer is clear: pleasure. Delightfully, she enjoys this on every possible occasion, as she drives through the country in her Land Rover looking for people and their stories for her video-blog. I m not so much interested in the topics that are shown every night in the evening news, but rather what the people on the road have to say. Every person has a story. Cheeky, explosive and full of easiness, the film pictures life in associative images all around topics of sex and relationships, guilt and religion, sense and nonsense of conventions and thus gives voyeuristic insight into the desires and longings of the protagonists. ROLAND REBER s filmography as a director and writer includes: TASTE OF LIFE (2017), ILLUSION (2013), THE TRUTH OF LIE (2011), ANGELS WITH DIRTY WINGS (2009), MY DREAM OR LONE LINESS NEVER WALKS ALONE (2007), PENTAMAGICA (2003), 24/7 THE PASSION OF LIFE (2005), THE DARK SIDE OF OUR INNER SPACE (2003), ARE GIRLS WEREWOLVES...? (short, 2002), THE ROOM ( inter national awards), COMPULSION (short, 2000 awarded Best Social Film, Pisticci/Italy), THE BAG (short 1999), MANUEL (short, 1998), ON TELEVISION (short 1998), and IHR HABT MEINE SEELE GEBOGEN WIE EINEN SCHÖNEN TÄNZER (1979), among others. GENRE Comedy, Drama, Erotic, Road Movie YEAR OF PRODUCTION 2017 DIRECTOR Roland Reber SCREENPLAY Roland Reber, Mira Gittner, Antje Nikola Mönning CINEMA- TOGRAPHY Mira Gittner CAST Antje Nikola Mönning, Andreas Pegler, Wolfgang Seidenberg, Iris Boss, Agnes Thi-Mai, Norman Graue, Marina Anna Eich, Mira Gittner PRODUCERS Marina Anna Eich, Patricia Koch PRODUCTION COMPANY wtp international RUNTIME 88 min LANGUAGE German FESTIVALS Hof 2017, Brussels Int. Fantastic FF 2018, Espoo Cinè IFF 2018 SALES wtp international wtpfilm@wtpfilm.com 26

27 GFQ NEW FEATURES Schmerbeck Entertainment HEILSTÄTTEN In HEILSTÄTTEN, a remote and gloomy sanctuary near Berlin with a history full of horror and crimes against humanity, a group of YouTubers illegally access the ominous surgery block for a 24-hour challenge they hope will go viral. Equipped with night vision and thermal cameras, the adolescent adrenaline junkies chase the rumors of paranormal activity in the rotting building, only to learn too soon that they are not alone and not welcome. But it is too late to leave the premises alive. Genre specialist Michael David Pate stages this low-budget, found-footage horror thriller with an A-list German cast: international Emmy award-nominee Sonja Gerhardt (KUDAMM 56, DEUTSCHLAND 83) delivers an outstanding performance next to Tim Oliver Schultz. Shot at the original location "Heilstätte Grabowsee" near Berlin and produced by new genre production company Schmerbeck Entertainment, HEILSTÄTTEN makes for entertaining paranormal horror cinema. MICHAEL DAVID PATE discovered his fascination for film in his childhood, watching and reenacting movies instead of going to sports. At the age of 15, he shot his first films with his grandmother s camcorder, forced by limited circumstances to edit his material live during filming. In 2014 at the age of 34, he released his first theatrical feature I LIKE (GEFÄLLT MIR), which won Best Picture at the genre festival Cinestrange Braunschweig in In 2015, his horror parody POTATO SALAD (KARTOFFELSALAT), shot and distributed independently, made 3.8 million euros at the box office with nearly 500,000 sold tickets in Europe. His new horror shocker HEILSTÄTTEN was released in Germany by 20th Century Fox in 2018 and has, thus far, attracted over 150,000 cinemagoers a very positive result for German horror genre. GENRE Horror, Psycho Thriller YEAR OF PRO- DUCTION 2017 DIRECTOR Michael David Pate SCREENPLAY Michael David Pate, Ecki Ziedrich CINEMATOGRAPHY Pascal Schmit CAST Sonja Gerhardt, Tim Oliver Schultz, Lisa-Marie Koroll, Nilam Farooq, Emilio Sakraya, Timmi Trinks, Maxine Kazis PRO - DUCER Till Schmerbeck PRODUCTION COMPANY Schmerbeck Entertainment, in coproduction with Fox International Pictures Germany RUNTIME 89 min LANGUAGE German SALES Schmerbeck Entertainment till.schmerbeck@gmail.com 27

28 NEW FEATURES GFQ Dreamtool Entertainment LILIANE SUSEWIND LITTLE MISS DOLITTLE 11-year-old Liliane Lilli Susewind can speak with animals! This is a secret nobody should know about except for her parents. Her special talent has caused enough trouble in the past and is forcing the family to move again. Lilli vows to keep her secret to herself when arriv - ing at their new home but then she learns that a mean animal thief has kidnapped the baby elephant Ronni from the local zoo. Together with her new classmate Jess, Lilli sets off on an adventure to save Ronni and the other animals! JOACHIM MASANNEK was born in 1960 in Hamm and studied German, Philosophy, and Film in Munich. Since 1985, he has worked as a production designer, lighting technician, cam eraman and author. After working on various animation projects, he wrote the children s book Die Wilden Fussballkerle based on the soccer team he founded in Munich. His films include: numerous short films and TV movies, all of the award-winning THE WILD SOCCER BUNCH films, both V8 films, and LITTLE MISS DOLITTLE. GENRE Family Entertainment YEAR OF PRO- DUCTION 2018 DIRECTOR Joachim Masannek SCREENPLAY Katrin Milhahn, Antonia Rothe- Liermann, Matthias Dinter, Beate Fraunholz, Betty Platz CINEMATOGRAPHY Richard van Oosterhout CAST Malu Leicher, Christoph Maria Herbst, Tom Beck, Aylin Tezel, Meret Becker PRODUCERS Felix Zackor, Stefan Raiser, Maike Haas PRODUCTION COMPANY Dreamtool Entertainment, in co-production with Deutsche Columbia Pictures Filmproduktion, Velvet Films, CINE PLUS RUNTIME 102 min LANGUAGE German SALES ARRI Media International worldsales@arri.de 28

29 GFQ NEW FEATURES Kess Film REISE NACH JERUSALEM THE CHAIRS GAME THE CHAIRS GAME is a game in which you need luck: You need to be in the right place at the right time otherwise you won t get a chair. Alice, 39, single and unemployed can no longer win at this silly game. The unemployment office keeps sending her to job appli - cation trainings. Yet, Alice knows they won t lead her to stop waiting in line. Hence, one morning she decides to interrupt one of them. Her unemployment benefits are then reduced, and money gets tight. Her parents and friends have no idea of the kind of chaos in which Alice finds herself since she is a proficient liar. Her persistent search to be socially accepted cannot prevent her from getting lonelier and lonelier. She keeps herself stubbornly afloat with gas vouchers, which she gets for participating in market research, and tries to once again take control of her tattered life. LUCIA CHIARLA was born in Genoa/Italy and took acting classes at the Performing Arts School Paolo Grassi in Milan. She also studied Literature at the University of Genoa. She worked in Italy as an actress in municipal theaters and movies. In 2005, she moved to Berlin. Her first movie BYE BYE BERLUSCONI! (author and actress) was shown in the Panorama section of the Berlinale She acted in theater pro - ductions in Berlin and attended the Skript Akademie, as well as wrote scripts and worked as a dramaturge. THE CHAIRS GAME marks her directorial debut. GENRE Tragicomedy YEAR OF PRODUCTION 2018 DIRECTOR Lucia Chiarla SCREEN- PLAY Lucia Chiarla CINEMATOGRAPHY Ralf Noack CAST Eva Löbau, Beniamino Brogi, Veronika Novak-Jones, Axel Werner PRO - DUCERS Giulio Baraldi, Lorenzo Baraldi, Claudine Castay CO-PRODUCER Martin Lehwald PRODUCTION COMPANY Kess Film, in co-production with Schiwago Film, Camelot Broadcast Services RUNTIME 120 min LANGUAGE German FESTIVALS Film - festival Max Ophüls Preis Saarbrücken 2018 SALES Kess Film info@kessfilm.com 29

30 NEW FEATURES GFQ Paul Nungeßer SCHWIMMEN SWIMMING SWIMMING is the story of Elisa and Anthea, two very different girls, whose friendship gives them orientation and stability in the most difficult time of their young lives. But their innocent friendship soon turns into codependency. To maintain their cohesion, they develop a game which turns them from victims into offenders. They start recording everything they do with their cell phone cameras. Soon they turn the camera around and secretly film their classmates, parti - cularly the ones who used to bully Elisa. Their friendship takes on a destructive dynamic, which becomes highly dangerous for those who get in the duo s way. LUZIE LOOSE was born in After studying at the College of Fine Arts in Berlin, she enrolled at the Filmakademie Baden-Württemberg. Also active as a director s assistant in the theater, she has worked on numerous German film and television productions. A selection of her films include: the shorts CHAOSTAGE (2009), SKYPE (2010), DER ZAUBERER (2012), WHEN KAFKA DIED IM MEMPHIS (2013), NOUVEAU MONDE (2014), THE WORLD OF MAVI KALEM MAVI KALEM DÜNYASI (2014), EVERYTHING WE DO IS MUSIC (2015), FRENCH FRIES (2015), LUI/LEI GIORGIO ARMANI FILM OF CITY FRAMES (2016), and her feature debut SWIMMING (2018). GENRE Drama YEAR OF PRODUCTION 2018 DIRECTOR Luzie Loose SCREENPLAY Luzie Loose CINEMATOGRAPHY Anne Bolick CAST Stephanie Amarell, Lisa Vicari, Alexandra Finder, Jonathan Berlin, Bjarne Meisel PRO- DUCERS Christoph Holthof, Daniel Reich CO- PRO DUCER Thomas Schadt PRODUCTION COMPANY kurhaus production, in co-production with Film akademie Baden-Württemberg RUNTIME 102 min LANGUAGE German SALES kurhaus production Film & Medien office@kurhausproduction.de 30

31 GFQ NEW FEATURES Warner Bros./Gordon Timpen SPIELMACHER PLAYMAKER Ivo, former professional footballer and jailbird with nothing to lose, is a betting natural. His feel for the sport and background draw the interest of Dejan, who takes him into his family, sucking him quickly into football s underbelly, a world of global fraud and manipulation where individuals are merely small cogs in an international network whose digital tentacles stretch all the way to China and beyond. But when Ivo meets young Lukas, a talented lad in whom he sees his former self, and starts training him for a top team trial while, at the same time, supposedly grooming and manipulating him on Dejan s behalf, he also falls in love with the boy s mother. Now Ivo finds himself caught be - tween two fronts and two families, and has to decide... TIMON MODERSOHN was born in He studied Psychology at the Free University Berlin and has been active as an assistant director for numerous commercials and feature films. He then studied Directing at the German Film and Television Academy Berlin. His films include: KAISER & KÖNIG (2012), WIGALD (2006), and his feature debut PLAY- MAKER (2018). GENRE Thriller YEAR OF PRODUCTION 2018 DIRECTOR Timon Modersohn SCREEN- PLAY Christian Brecht CINEMATOGRAPHY Christian Rein CAST Frederick Lau, Oliver Masucci, Antje Traue, Mateo Wansing Lorrio, Paul Fassnacht, Karl Markovics PRODUCERS Manuel Bickenbach, Alexander Bickenbach PRODUCTION COMPANY Frisbeefilms, in co-production with Warner Bros. Film Productions Germany, cine plus Filmproduktion RUNTIME 95 min LANGUAGE German SALES Picture Tree International yuan@picturetree-international.com 31

32 NEW DOCUMENTARIES GFQ Today, 150 million women are miss - ing in Asia. Zoning in on personal stories from South Korea, China, India and Vietnam, the film explores the regional and global consequences of this dramatic gender imbalance. With previously unseen archive material, the film also looks back at the years after the Second World War and examines the dubious role of inter - national organizations and their influence on worldwide family planning. A revelatory documentary that weaves together elements of politics, economics and medicine, showing women both then and now as the plaything of political and criminal interest groups. THE BACHELOR TIME BOMB Dorothe Dörholt ANTJE CHRIST is an experienced documentary producer and director. Since 1997 she has been realizing high-quality docu - mentaries for international broadcasters, where she focuses on globalization issues. She works mainly in Asian countries. DOROTHE DÖRHOLT has a Ph.D. in Psychol - ogy and a Master s degree in Media Studies. Since 1995 she has been working as an international documentary filmmaker. Her highquality documentaries focus on human rights issues and human interest. GENRE Human Interest, Sociology, Society YEAR OF PRODUCTION 2018 DIRECTORS Antje Christ, Dorothe Dörholt PRODUCER Birgit Schulz PRODUCTION COMPANY Bildersturm Filmproduktion RUNTIME 90 & 52 min LANGUAGE English, German, Hindi, Vietnamese, Korean, Chinese SALES NEW DOCS sales@newdocs.de ART IN PARADISE presents the most beautiful private art museums on the planet. Built by passionate collectors who have spent hundreds of millions of dollars for their visions. Their museums are surrounded by fantastic landscapes where art and nature blend together. In Tasmania, in China, in the midst of the Andes in Argentina and on islands of the Seto Inland Sea in Japan. Locations that are off the beaten paths of the art world: the MUSEUM OF OLD AND NEW ART (MONA) in Australia, the SIFANG ART MUSEUM in China, the JAMES TURRELL MUSEUM in Argentina, and the BENESSE ART SITE NAOSHIMA in Japan. He who wants to see them has to embark on a long journey. Sabine Pollmeier ART IN PARADISE JOACHIM HAUPT and SABINE POLLMEIER direct and produce films and series about arts, culture and nature. Their films include: the series UP TO THE SKY (2009/2012/2017), GREAT OCEAN ROAD AUSTRALIA S WILD COAST (2016), and ART IN PARADISE (2018). GENRE Art, Series YEAR OF PRODUCTION 2018 DIRECTORS Joachim Haupt, Sabine Pollmeier CINEMATOGRAPHY Sabine Pollmeier, Michael Komagata, Matthew Scott PRODUCER Sabine Pollmeier PRODUCTION COMPANY Parnass Film, in co-production with Radio Bremen, ARTE RUNTIME 4 x 26 min LANGUAGE English SALES Parnass Film mail@parnassfilm.de 32

33 GFQ NEW SHORTS Apresumably African village, in - habited by Germans. The film BURKINA BRANDENBURG KOM- PLEX describes a geographical construction that makes use of our medial and collective image of Africa and puts it to the test through inaccuracies. An archaeological find is made in a mine: a Ferrari. We tag along with Joachim on his everyday rounds. He has his heart set on realizing a common energy project. The Museum of Prussian Cultural Heritage is run by a black woman. She presents artefacts from Western consumer culture with a special emphasis on German products. Joachim is involved in the ritualistic production of energy in the village, but gets excluded when the ceremony is near ing its finale, finally catapulting himself out of the story/history. ULU BRAUN studied Painting and Film in Vienna, Helsinki and Potsdam. He has been using the medium of video to explore the field between visual arts and auteur cinema since He is one of the key figures who has transferred painting into video art and has played a significant role in defining and further developing the genre of video collage. His works are regularly exhibited in art institutions and shown at international film festivals. A selection of his award-winning films includes: the shorts WESTCOAST (2009), MARIA THERESIA AND HER 16 CHILDREN (2011), FORST (2013), BIRDS (2014), ARCHI- TEKTURA (2015), THE HOSTEL (2017), and BURKINA BRANDENBURG KOMPLEX (2018). GENRE Art, Fantasy, History, Science Fiction, Tragicomedy YEAR OF PRODUCTION 2018 DIRECTOR Ulu Braun SCREENPLAY Ulu Braun CINEMATOGRAPHY Ulu Braun, Valentin Lorenz CAST Joachim Stargard, Evyonne Muhuri, Valentin Lorenz, Katja Franziska Müller PRODUCER Ulu Braun PRODUCTION COMPANY Studio Ulu Braun RUNTIME 19 min LANGUAGE German FESTI- VALS Berlinale 2018 (Short Film Nominee European Film Awards) SALES Studio Ulu Braun film@ulubraun.com Ulu Braun As a child, Carlotta didn t expect the people around her to have faces. She doesn t even recognize her own face. Years later, she learns about a rare, untreatable deficit of her brain. It was art, after all, that offered her a way to finally recognize herself. VALENTIN RIEDL is a physician and neuro scientist. In videos of brain scans, he searches for patterns of neuron activity. His first short film BURNED SOIL (2012) won the LA Movie Award for Best International Film and Best Editing. His other short films include TWELFTH NIGHT (2014) and CARLOTTA S FACE (2018). He is currently developing his first feature-length documentary in which Carlotta s intimate story will merge with a sphere of brain science. GENRE Animation, Art, Children & Youth, Documentary, Drama YEAR OF PRODUCTION 2018 DIRECTORS Valentin Riedl, Frédéric Schuld SCREENPLAY Valentin Riedl, Frédéric Schuld ANIMATION Frédéric Schuld PRO - DUCER Fabian Driehorst CO-PRODUCER Valentin Riedl PRODUCTION COMPANY Fabian&Fred, in co-production with Filmstahl RUNTIME 5 min LANGUAGE German FESTI- VALS San Francisco 2018, Cleveland 2018, Hot Docs 2018, Oberhausen 2018, Hamburg 2018 AWARDS Short Tiger 2018 SALES Fabian&Fred hello@fabianfred.com FRÉDÉRIC SCHULD studied at the Academy of Media Arts Cologne and founded the studio Fabian&Fred with Fabian Driehorst. He works as a director and animator of short films and documentaries. His films as a director include THE NEW CHIMNEY (2018) and CARLOTTA S FACE (2018). Fabian&Fred 33

34 NEW SHORTS GFQ Two characters are linked by their hair. They influence each other by every move they make and wherever they go. ROBERT LÖBEL was born in 1984 and grew up in Dresden. In 2005 he began his Graphic Design studies in Wismar. After two years he moved to Hamburg to study Illustration. Today he lives and works in Berlin. His films include: S SSYP (2009), WIND (2103), LINK (2017), and ISLAND (2017). GENRE Animation YEAR OF PRODUCTION 2017 DIRECTOR Robert Löbel SCREENPLAY Robert Löbel CINEMATOGRAPHY Robert Löbel ANIMATION Robert Löbel SOUND DESIGN David Kamp PRODUCER Robert Löbel RUNTIME 8 min LANGUAGE no dia - logue FESTIVALS Ottawa 2017, DOK Leipzig 2017, Interfilm Berlin 2017, Dresden 2018, Annecy 2018, Glas Animaton Festival 2018, Pictoplasma 2018, Ann Arbor 2018 AWARDS Prix de Varti for Funniest Film Ann Arbor 2018 SALES KurzFilmAgentur Hamburg sales@shortfilm.com Robert Löbel CALL OF COMFORT Brenda Lien Germany experimental English dialogue MASCARPONE Jonas Riemer Germany fiction English dialogue DARÍO Manuel Kinzer, Jorge A. Trujillo Gil Germany fiction Spanish dialogue English subtitles RÅ Sophia Bösch Germany, Sweden fiction Swedish dialogue English subtitles DIE SCHLÄFERIN THE SLEEPER Alex Gerbaulet Germany experimental documentary German dialogue English subtitles ROUTINES Eren Aksu Germany documentary German dialogue English subtitles FOLLOWER Jonathan Behr Germany experimental fiction German dialogue English subtitles ST TORKOW KALIFORNIA Kolja Malik Germany fiction German dialogue English subtitles

35 GFQ UPCOMING FILMS 100 DINGE Anne Wilk How many possessions do we really need to enjoy life? That s the question posed by Florian David Fitz and Matthias Schweighöfer in their second co l - laboration after the box-office hit THE MOST BEAUTIFUL DAY. Inspired by the Finnish experimental documentary MY STUFF, 100 THINGS focuses on two up-and-coming entrepreneurs sur - rounded by countless gadgets and status symbols. They re also plagued by anxieties and unable to function without Alexa & Siri. That is, of course, until they make a bet with one another. The wager strips them of all their belongings and permits them only to take back one item per day for the next 100 days. Who will be the first to give up? GENRE Comedy CATEGORY Feature DIREC- TOR Florian David Fitz SCREENPLAY Florian David Fitz CAST Florian David Fitz, Matthias Schweighöfer, Miriam Stein, Sarah Viktoria Frick, Johannes Allmayer, Max Bretschneider, Hannelore Elsner, Maria Furtwängler, Wolfgang Stumph, Katharina Thalbach PRO- DUCERS Dan Maag, Matthias Schweighöfer, Marco Beckmann PRODUCTION COMPANY PANTALEON Films, in co-production with Warner Bros. Film Productions Germany, Erfttal Film & Fernsehproduktion LANGUAGE German SALES Picture Tree International yuan@picturetree-international.com BEAT The seven-part series BEAT (working title) is the fifth German Amazon Prime Original to go into production and marks filmmaker Marco Kreuzpaintner s first foray into directing a TV series. Heading up a veritable Who s Who of young German acting talent including Karoline Herfurth, Kostja Ullmann and Alexander Fehling, Jannis Niewöhner stars as Robert Schlag, nick named Beat, a Berlin club promoter who lives for the excesses of sex, drugs and the German capital s nightlife. His connections to the underworld lead the newly established European intelligence agency to use Beat to try and infiltrate a notorious human organ smuggling ring. However, it is not long before Beat is fighting for his own life... GENRE Drama, Thriller CATEGORY Mini- Series DIRECTOR Marco Kreuzpaintner SCREENPLAY Norbert Eberlein, based on an original idea by Marco Kreuzpaintner CAST Jannis Niewöhner, Karoline Herfurth, Christian Berkel, Alexander Fehling, Hanno Koffler, Kostja Ullmann, Nina Gummrich, Karl Markovics, Anna Bederke, Claudia Michelsen PRODUCERS Christopher Doll, Lothar Hellinger PRODUCTION COMPANY Hellinger/ Doll Filmproduktion, in co-production with Warner Bros. Entertainment, PANTALEON Films LANGUAGE German CONTACT Hellinger/Doll Filmproduktion info@hellingerdoll.com Warner Bros. DEUTSCHSTUNDE Georges Pauly Christian Schwochow moves from the world of high finance in his BAD BANKS mini-series to a small North German village for a drama played out during and shortly after the Second World War about duty versus individual conscience and morality. A glittering acting ensemble including three European Shooting Stars Johanna Wokalek, Maria Dragus and Louis Hofmann join newcomers Levi Eisenblätter and Tom Gronau who play the central figure of Siggi Jepsen in this adaptation of Siegfried Lenz's classic 1968 novel The German Lesson. The film marks Schwochow s latest collaboration with his mother Heide who penned the screenplays for three of his previous feature films (NOVEMBER CHILD, CRACKS IN THE SHELL and WEST). GENRE Drama, Literature CATEGORY Feature DIRECTOR Christian Schwochow SCREEN- PLAY Heide Schwochow CAST Levi Eisen - blätter, Ulrich Noethen, Tobias Moretti, Johanna Wokalek, Sonja Richter, Maria Dragus, Louis Hofmann, Tom Gronau PRO - DUCERS Jutta Lieck-Klenke, Dietrich Kluge, Ulf Israel PRODUCTION COMPANY Network Movie, in co-production with Senator Film Produktion, in cooperation with ZDF LANGUAGE German SALES Wild Bunch sales@wildbunch.eu, 35

36 UPCOMING FILMS GFQ DREISSIG Twenty-four hours with a group of friends on a Friday in October in Berlin s blue-collar district of Neukölln. Övünç is suffering from writer s block, Pascal and Raha split up recently and are trying to stay friends. Kara constantly sublets her flat to keep herself moving. Henner spends the day in a bar and meets a girl by the name of Anja. That evening they celebrate Övünç s birthday and drift together through the city s nightlife. The film depicts six young people in their struggle with the daily grind of life in Berlin and the reality of turning thirty. GENRE Drama CATEGORY Feature DIRECTOR Simona Kostova SCREENPLAY Simona Kostova CAST Övünc Güvenisik, Pascal Houdus, Raha Emami Khansari, Kara Schröder, Henner Borchers, Anja Langer PRODUCER Ceylan Alejandro Ataman-Checa CO-PRODUCER Jörg Daniel PRODUCTION COMPANY Deutsche Film- und Fernseh - akademie Berlin (DFFB) LANGUAGE German, French CONTACT Deutsche Film- und Fernsehakademie Berlin (DFFB) j.settmacher@dffb.de DFFB ELEFANTEN WACHSEN SCHNELL ELEFANTEN WACHSEN SCHNELL is the story of a separated couple, Matthias and Anna, whose wounds are still open and sore, but decide nonetheless to organize a joint birthday party for their sevenyear-old son, Lukas. At the end of the party, after the guests have gone with their balloons and pieces of cake, one child, Julius, remains behind, uncollected by his parents. This triggers a rapid chain of events. At first, Matthias just wants to get Julius off his hands. But then the helpless boy awakens his protective instincts and opens his eyes to his own son s needs. GENRE Drama CATEGORY Feature DIRECTOR Carlos A. Morelli SCREENPLAY Carlos A. Morelli CAST Mark Waschke, Anne Ratte- Polle, Kasimir Brause, Finnlay Jan Berger PRODUCERS Jakob D. Weydemann, Jonas Weydemann, Yvonne Wellie PRODUCTION COMPANY Weydemann Bros., in co-production with ZDF Das kleine Fernsehspiel LANGUAGE German CONTACT Weydemann Bros. info@weydemannbros.com Friede Clausz/Weydemann Bros. KENT OZANI, DER STADTSCHREIBER VON ISTANBUL Eren Bozbas/San Cinema The film follows the Andalusian-born, German writer José F.A. Oliver during his time as a writer-in-residence in Istanbul as he observes the coming together of peoples, histories and cultures on the Bosphorus and records his impressions and thoughts in a personal diary. At the same time, the poetic documentary which in part gave rise to Oliver s 2016 book 21 Gedichte aus Istanbul 4 Briefe & 10 Fotow:orte offers a unique insight into the creative processes of his work as a poet and sees director Altuner portraying him and Istanbul over the course of two years. Altuner also collaborates with the Turkish pianist Fazil Say for some classic songs from his library and on com - posing his own musical homage to Istanbul. GENRE Literature CATEGORY Documentary DIRECTOR Dogan Altuner PRODUCER Sven Schnell CO-PRODUCER Asli Ertürk PRODUC- TION COMPANY San Cinema, in co-production with ESR LANGUAGE German CONTACT phantasticas connect@phantasticas.com 36

37 GFQ UPCOMING FILMS DER KRIEG IN MIR Heinzelfilm Sebastian Heinzel examines WWII s effects on his family, following his grandfather s path from Germany to Russia, discovering links to his own past. He also meets people from other countries with similar experiences. This is a generation marked by the war and their parents and grandparents traumas. Via his own family history and others, Heinzel shows how collective experiences such as flight, displacement and genocide reach to the second and third generations. But this interrelationship of places, people and events can also loosen knots within families and allow change. Against the background of the global refugee crisis and international tensions, the film tells of the need for hope for healing and reconciliation; an urgent appeal for peace in Europe. GENRE Society CATEGORY Documentary DIRECTOR Sebastian Heinzel PRODUCER Sebastian Heinzel CO-PRODUCERS Vadim Jendreyko, Susanne Guggenberger PRODUC- TION COMPANY Heinzelfilm, in co-production with Mira Film LANGUAGE German, Russian, English SALES Rise and Shine World Sales info@riseandshine-berlin.de PARFUM Following such TV series as the International Emmy-winning GENERATION WAR and SS-GB, director Philipp Kadelbach now tries his hand at a contemporary crime series inspired by Patrick Süskind s international bestselling novel Perfume: The Story of a Murderer. A young, headstrong profiler with unusual investigation techniques sets about gathering evidence after a series of brutal murders are reported in the Lower Rhine region. One of the leads takes her into the past to five board ing school pupils who began experimenting with the mystery of human scent in their quest for power and love... Shot in NRW last year, the six-part series will STILLSTEHEN CALA Filmproduktion premiere on ZDFneo this autumn and simultaneously be available in all territories outside of Germany via Netflix. GENRE Drama, Thriller, Crime CATEGORY Series DIRECTOR Philipp Kadelbach SCREENPLAY Eva Kranenburg CAST Friederike Becht, Wotan Wilke Möhring, August Diehl, Ken Duken, Natalia Belitski, Trystan Pütter, Christian Friedel, Jürgen Maurer, Marc Hosemann PRODUCERS Sarah Kirkegaard, Oliver Berben PRODUCTION COMPANY Constantin Film Produktion, in co-production with MOOVIE, ZDF, ZDFneo, ARRI Media, in cooperation with Netflix LANGUAGE German SALES Beta Film beta@betafilm.com, Julie is in her mid-twenties. She is smart and quick-witted. She marches to the beat of her own drum and has her own manifesto: to do nothing. And with nothing, she really means NOTHING: no work, no studies, no friends. Agnes is a happy go lucky nurse of the same age. With a husband and a child, she is fitting into society s expectations without giving any great thought to the matter. Until, that is, she meets Julie. Together they start a rebellion that will bring them to the limits of their respective worlds. STAY STILL is a bitter-comic ode to life: full of witty dialogue and situational humor, dangerous, and sexy. GENRE Coming-of-Age Story, Tragicomedy CATEGORY Feature DIRECTOR Elisa Mishto SCREENPLAY Elisa Mishto CAST Natalia Beltiski, Luisa-Céline Gaffron, Martin Wuttke, Katharina Schüttler, Giuseppe Battiston, Ole Lagerpusch, Tim Kalkof, Leslie Malton, Jürgen Vogel PRODUCER Martina Haubrich CO-PRODUCER Andrea Stucovitz PRODUC- TION COMPANY CALA Filmproduktion, in coproduction with PMI, Farbfilm Produktion, cine plus Filmproduktion LANGUAGE German CONTACT CALA Filmproduktion haubrich@calafilm.de Thomas Kost/Constantin Film Verleih 37

38 UPCOMING FILMS GFQ SYSTEMSPRENGER What would your childhood have been like if the only constant thing was change? SYSTEMSPRENGER takes us on the wild and energetic journey of 9-year-old girl Benni through all possible stations of Child Protective Services. She s a gentle but bold girl. Wherever she is put, she flies right out again, but there is only one thing she really wants: to live with her mother again! But Bianca is scared of her own daughter. GENRE Drama CATEGORY Feature DIRECTOR Nora Fingscheidt SCREENPLAY Nora Fingscheidt CAST Helena Zengel, Albrecht Schuch, Gabriela Maria Schmeide PRODU- CERS Peter Hartwig, Jonas Weydemann, Jakob D. Weydemann CO-PRODUCER Frauke Kolbmüller PRODUCTION COMPANIES Kineo Filmproduktion, Weydemann Bros., in co-production with Oma Inge Film, ZDF Das kleine Fern seh spiel LANGUAGE German CONTACT Weydemann Bros. info@weydemannbros.com kineo/weydemann Bros./Yunus Roy Imer TEARS OF CHANGE Sebastian is growing up in Hannover. As the son of a single mother, he learns to be self-reliant at a very young age. As a teenager he falls in love with Betty. Through her, he gets to know a different family structure, one which has a great appeal to him. But soon tensions arise between him and the two worlds surrounding him. As a young man, he poses the question as to what remains of childhood dreams when one becomes an adult. The film tracks a young person through three periods of his life, on the journey to finding himself. GENRE Coming-of-Age Story, Drama CATEGORY Feature DIRECTOR Ceylan Alejandro Ataman-Checa SCREENPLAY Ceylan Alejandro Ataman-Checa CAST Finn Freyer, Joseph Peschko, Ambar De La Horra, Frederieke Morgenroth, Andreas Sigrist, Frederik Reents PRODUCERS Jörg Daniel, Övünc Güvenisik, Ceylan Alejandro Ataman- Checa, Simona Kostova PRODUCTION COM- PANY Deutsche Film- und Fernsehakademie Berlin (DFFB) LANGUAGE German CONTACT Deutsche Film- und Fernsehakademie Berlin (DFFB) j.settmacher@dffb.de DFFB TRÄUME VON RÄUMEN DFFB does it mean to inhabit a space?, asks filmmaker and resident Matthias Lintner, that What space being a housing estate almost un - touched by time. Built during the German Empire, the Kleine Bremer Höhe has served as a refuge to artists, punks and the elderly. To the occasional visitor, the quiet courtyard with its lindens is an enchanted garden tucked away off Berlin s busy Torstrasse. Lintner s answer lies in affectionate portraits of his neighbors as he watches and listens to those who have built a world of their own, and refuse to focus on the outside world. Ideas on vacantness and void appear as a subversive act against the utopia of the wellordered spaces and echo the thoughts of writer Georges Perec, whose quotes add an essay-like layer. GENRE Society CATEGORY Documentary DIRECTOR Matthias Lintner PRODUCERS Matthias Lintner, Ewelina Rosinska PRO - DUCTION COMPANY Deutsche Film- und Fern seh akademie Berlin (DFFB) LANGUAGE German, English CONTACT Deutsche Film- und Fernsehakademie Berlin (DFFB) j.settmacher@dffb.de 38

39 GFQ UPCOMING FILMS WARUM Arnim Thomass Alexandra Maria Lara appears as Antonia Berger, a young enthusiastic Communist, who goes to the Soviet Union in the 1930s. Whilst there, she is ac - cused of spying and sent to a labor camp. After being released from the Gulag in 1952, she manages to return home to the new socialist East German state with her seriously ill daughter Lydia. Antonia is forced to keep her terrible experiences secret for the common good. It is only after Stalin s death that she speaks out about her time in the Soviet Union. But her newly regained freedom is taken away from her again when her lover, a hospital doctor and committed Communist, informs a functionary. Antonia has to make a choice between truth or the present. GENRE Drama CATEGORY Feature DIRECTOR Bernd Böhlich SCREENPLAY Bernd Böhlich CAST Alexandra Maria Lara, Carlotta von Falkenhayn, Robert Stadlober, Karoline Eichhorn, Barbara Schnitzler, Stefan Kurt, Jürgen Tarrach PRODUCERS Eva-Marie Martens, Alexander Martens CO-PRODU- CERS Regina Spreer, Frank Evers PRODUC- TION COMPANY Mafilm Martens Film- und Fernsehproduktion, in co-production with RBB, cine plus Filmproduktion, STL LANGUAGE German SALES Pluto Film Distribution Network info@plutofilm.de WEST OF LIBERTY Cologne-based Network Movie and Sweden s Anagram Se have joined forces to produce the international high-end six-part series WEST OF LIBERTY, the first novel in Thomas Engström s series of novels about the former Stasi agent and CIA informant Ludwig Licht. German actor Wotan Wilke Möhring as Licht is no longer in active service and works as a freelance problem solver and barman in Berlin s Kreuzberg. However, when his former CIA colleague and partner in crime GT Berner (Matthew Marsh) contacts him about investigating the case of Lucien Gell (Lars Eidinger), a corrupt leader of a whistle-blower site, Licht decides to return to the shadowy world of the intelligence service to bring the number one enemy of the state to justice... GENRE Thriller CATEGORY Mini-Series DIRECTOR Barbara Eder SCREENPLAY Sara Heldt, Donna Sharpe CAST Wotan Wilke Möhring, Matthew Marsh, Michelle Meadows, Cara Horgan, Philipp Karner, Dona Croll, Lars Eidinger PRODUCERS Wolfgang Cimera, Bettina Wente, Gunnar Carlsson PRODUC- TION COMPANIES Network Movie, Anagram Se, in co-production with ZDF, SVT Swedish Public TV LANGUAGE English, German SALES ITV Global Entertainment chloe.normyle@itv.com, lee.taylor@itv.com Martin Valentin Menke Check out the new GFQ digital issue Specially designed for desktop and mobile devices, to keep you informed on all the latest German films and filmmakers, and a whole lot more! 39

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42 REMUNERATION IN GERMANY FOR PRIVATE COPYING VIDEO RENTAL CABLE RETRANSMISSION VGF, a collecting society under German law, was founded in 1981 when private copying of TV-programs (in particular feature films) by means of video recording equipment started to become commercially important. Since 1982 VGF collects blank tape levies due to German and foreign film producers under Art. 54 of the German Copyright Act and distributes them to the respective rightsholders. The German Collecting Societies Act obliges VGF to make sure that all rightsholders and owners of neighbouring rights of motion pictures, including foreign rightsholders who enjoy national treatment under the international copyright conventions, receive an equitable share of the monies collected for all rightsholders of programs broadcasted by German TV-Stations. Since it is virtually impossible for the individual rightsholders to control the use of the property and to make claims individually, Art. 54 provides that the respective rights must be administered collectively and claims can be made through a collecting society only. VGF now administers a great number of film rights of important film and TV producers from USA, Great Britain, Germany and other countries who have joined VGF as members. Since VGF's activities come under the supervision of the German Patent Office, it is safeguarded that a fair division of monies among all rightsholders concerned takes place and that producers receive an equitable share of the royalties in Germany. The following rights are administered by VGF: Art. 54 German Copyright Act Private Copying Art. 54 of the German Copyright Act provides a remuneration for private copying of films. As rightsholders cannot prevent private copying, makers of recording devices and storage media which are used to effect private copying are charged with a levy. The claim can be made by a collection society only (Art. 54h German Copyright Act). VGF as a trustee administers the rights for film and TV producers and distributes the respective amounts to the rightsholders. Licensing of television rights does not imply transfer of the above mentioned right. Art. 27 German Copyright Act Video Rental Art. 27 of the German Copyright Act entitles rightsholders to a supplementary remuneration for the rental and lending of videograms by video-retailers. The money must be paid by the video retailer. It is provided by law (Art. 27 Sec. 3) that claims can be made by collecting societies only. Art. 20 b German Copyright Act Cable Retransmission Rightsholders whose programs are broadcast by German TV stations and retransmitted via cable are also entitled to a remuneration for such cable retransmission. VGF is also active in collecting this fee. Administration of the above mentioned fees by VGF incurs no costs for the rightsholders. If your company is interested in collecting these remunerations, please contact VGF for more detailed information. info@vgf.de VGF Berlin (for non-german films) Neue Schönhauser Straße 10, D Berlin T: VGF Munich (for German films) Beichstraße 8, D München T: F:

43 GFQ GERMAN FILMS: A PROFILE GERMAN FILMS SERVICE + MARKETING is the national infor mation and advisory center for the promotion of German films worldwide. It was established in 1954 under the name Export-Union of German Cinema as the umbrella association for the Association of German Feature Film Producers, the Association of New German Feature Film Producers and the Association of German Film Exporters, and operates today in the legal form of a limited company. In 2004, the company was re organized and now operates under the name: German Films Service + Marketing GmbH. SHAREHOLDERS are the German Pro - ducers Association, the German Pro ducers Alliance, the Association of German Film Exporters, the German Federal Film Board (FFA), the Deutsche Kinemathek, the German Documentary Association, FilmFernsehFonds Bayern, Film- und Medien stiftung NRW, Medien board Berlin-Brandenburg, and the German Short Film Association. German Films budget of presently 4.82 million comes from film export levies, the office of the Federal Government Com - missioner for Culture and the Media, and the FFA. The eight main regional film funds (FilmFernsehFonds Bayern, Filmförderung Hamburg Schleswig-Holstein, Film- und Medien stiftung NRW, HessenFilm, Medien - board Berlin-Brandenburg, MFG Baden- Württemberg, Mittel deutsche Medienförderung, and Nord media) make a financial contribution towards the work of German Films. German Films is a founding member of the European Film Promotion, a network of European film organizations with similar responsibilities to those of German Films. The organiza tion, with its headquarters in Hamburg, aims to develop and realize joint projects for the pre sentation of European films on an inter national level. In association and cooperation with its share - holders, German Films works to promote feature, documentary, television and short films. SUPERVISORY. BOARD Peter Herrmann Chairman Jana Cernik Katharina Cramer-Hadjidimos Peter Dinges Antonio Exacoustos Prof. Dr. Klaus Schaefer TEAM Mariette Rissenbeek Managing Director Mai Anh Do Accounts Christine Harrasser Distribution Support, Television, Business Affairs Angela Hawkins Communications & Marketing Nicole Kaufmann Regional Coordinator: USA, UK & Northern Europe Birgit Koch Press & PR Marita Luger Assistant to the Managing Director Dennis Ruh Festival Relations Fides Schäffer Regional Coordinator: Asia & Australia Maike Schantz Regional Coordinator: Southern Europe & Latin America Martin Scheuring Project Coordinator & Short Film Andrea Schiefer Monitoring & Strategic Development, Administration Bernhard Simek Regional Coordinator: Eastern Europe, Documentary Film RANGE OF ACTIVITIES Close cooperation with major interna - tional film festivals, in cluding Berlin, Cannes, Venice, San Sebastian, Locarno, Rome, Karlovy Vary, Montreal, Toronto, New York, Shanghai, Warsaw, Moscow, and Busan Organization of umbrella stands for German sales companies and producers at international television and film markets (Berlin, Cannes, AFM Los Angeles, Shanghai, Toronto, Clermont-Ferrand, Annecy) Staging of Festivals of German Films in selected inter national territories in cooperation with the Goethe-Institut Staging of industry screenings in key international territories Providing advice and information for rep - resentatives of the international press and buyers from the fields of cinema, home entertain ment, and television Publication of informational literature about current German films and the German film industry, as well as international market analy ses and special festival brochures A website ( offer - ing in forma tion about new German films, a film archive, in formation and links to German and international film festivals and institu - tions Organization of the selection procedure for the German entry for the Oscar for Best Foreign Language Film Collaboration with Deutsche Welle s DW-TV KINO program which features the latest German film releases and inter national productions in Germany Organization of the German Films Previews geared toward arthouse distributors and buyers of German films In addition, German Films has foreign re p - resentatives for Eastern Europe and China/ Southeast Asia. Providing advice and information for German filmmakers and press on inter - national festivals, conditions of participation, and German films being shown Organization of the annual Next Generation Short Tiger short film program, which presents a selection of shorts and is inter - nationally premiered in Cannes Selective financial Distribution Support for the foreign releases of German films Organization with UniFrance of the annual German-French film meeting 43

44 ... SHANGHAI... CANNES... MADRID... SÃO PAULO... MOSCOW... LONDON... VENICE... ISTANBUL... SYDNEY... LOCARNO... NEW YORK... SAN SEBASTIÁN OPENING THE DOORS TO GERMAN CINEMA... WARSAW... PARIS... BUSAN... KARLOVY VARY... ROME... TORONTO... LOS ANGELES... TOKYO... TURIN

45 GFQ SHAREHOLDERS & SUPPORTERS Allianz Deutscher Produzenten Film & Fernsehen e.v. German Producers Alliance Kronenstr Berlin/Germany phone fax info@produzentenallianz.de Arbeitsgemeinschaft Dokumentarfilm e.v. German Documentary Association Schweizer Str Frankfurt am Main/Germany phone fax agdok@agdok.de Arbeitsgemeinschaft Kurzfilm e.v. German Short Film Association Förstereistr Dresden/Germany phone fax info@ag-kurzfilm.de Deutsche Kinemathek Museum für Film und Fernsehen Potsdamer Str Berlin/Germany phone fax info@deutsche-kinemathek.de FilmFernsehFonds Bayern GmbH Gesellschaft zur Förderung der Medien in Bayern Sonnenstr Munich/Germany phone fax filmfoerderung@fff-bayern.de Filmförderungsanstalt German Federal Film Board Große Präsidentenstr Berlin/Germany phone fax info@ffa.de Film- und Medienstiftung NRW GmbH Kaistr Düsseldorf/Germany phone fax info@filmstiftung.de Medienboard Berlin-Brandenburg GmbH August-Bebel-Str Potsdam-Babelsberg/Germany phone fax info@medienboard.de Verband Deutscher Filmexporteure e.v. (VDFE) Association of German Film Exporters Robert-Koch-Str Munich/Germany Berlin office: Winterfeldtstr Berlin/Germany phone fax forster@forster-recht.de Verband Deutscher Filmproduzenten e.v. German Producers Association Häberlstr Munich/Germany phone fax mail@filmproduzentenverband.de Die Beauftragte der Bundesregierung für Kultur und Medien Federal Government Commissioner for Culture & the Media Köthener Str Berlin/Germany phone fax K36@bkm.bund.de Filmförderung Hamburg Schleswig-Holstein GmbH Friedensallee Hamburg/Germany phone fax info@ffhsh.de HessenFilm und Medien GmbH Am Steinernen Stock Frankfurt am Main/Germany phone fax info@hessenfilm.de MFG Medien- und Filmgesellschaft Baden-Württemberg mbh Bereich Filmförderung Breitscheidstr Stuttgart/Germany phone fax filmfoerderung@mfg.de Mitteldeutsche Medienförderung GmbH Hainstr Leipzig/Germany phone fax info@mdm-online.de nordmedia Film- und Mediengesellschaft Niedersachsen/Bremen mbh Expo Plaza Hanover/Germany phone fax info@nordmedia.de 45

46 ASSOCIATION OF GERMAN FILM EXPORTERS GFQ ASSOCIATION OF GERMAN FILM EXPORTERS Verband deutscher Filmexporteure e.v. (VDFE) Robert-Koch-Str Munich/Germany Berlin office: phone Winterfeldtstr. 56 fax Berlin/Germany forster@forster-recht.de phone ARRI Media International Türkenstr Munich/Germany phone fax worldsales@arri.de Films Boutique GmbH Köpenicker Str Berlin/Germany phone contact@filmsboutique.com Picture Tree International GmbH Husemannstr Berlin/Germany phone fax pti@picturetree-international.com Beta Cinema GmbH Grünwalder Weg 28d Oberhaching/Germany phone beta@betacinema.com Global Screen GmbH Sonnenstr Munich/Germany phone fax info@globalscreen.de SOLA Media GmbH Rotebühlplatz Stuttgart/Germany phone fax post@sola-media.com Constantin Film Verleih GmbH Feilitzschstr Munich/Germany phone fax zentrale@constantin.film Media Luna New Films UG Kaiser-Wilhelm-Ring 38, 6 th Floor Cologne/Germany phone fax info@medialuna.biz 46

47 GFQ IMPRINT & FOREIGN REPRESENTATIVES German Films Quarterly is published by: German Films Service + Marketing GmbH Herzog-Wilhelm-Str Munich/Germany phone fax info@german-films.de ISSN Credits are not contractual for any of the films mentioned in this publication. German Films Service + Marketing GmbH All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. Editor Angela Hawkins Contributors Martin Blaney, Matthias Dell, Simon Kingsley, Philipp Stadelmaier Translations Lucinda Rennison Cover Ulrich Köhler ( Annette Hauschild/ Pandora Film Produktion) Design & Art Direction Werner Schauer Printing Office German Films supports the use of paper from sustainable forestry. The pages of this magazine are made of PEFC certificated cellulose. PEFC (Programme for the Endorsement of Forest Certification schemes) is the largest independent organization worldwide for securing and continuously improving a sustainable forest management and it guarantees ecological, social and economic standards. Currently there are 258 million hectares of PEFC certificated forest worldwide. FOREIGN REPRESENTATIVES Eastern Europe Simone Baumann Saxonia Entertainment Altenburger Str Leipzig/Germany phone fax baumann@german-films.de China Anke Redl China Media Management Inc. Galaxy SOHO, Tower D No. 7 Xiaopaifang Hutong Dongcheng Beijing /China phone fax redl@german-films.de worldwide transport solutions Int. Medienspedition FILMTRANSPORTS. FIRST CLASS SERVICE! AIRFREIGHT WORLDWIDE: EXPORT. IMPORT. WAREHOUSE INTERNATIONAL COURIERSERVICE: WORLDWIDE DOOR TO DOOR TRUCKING SERVICE. OVERNIGHT FESTIVALS. FILMPRODUCTION-HANDLING GmbH Airport Offices: München ( 089/ Fax 089/ muc@multi-logistics.de Frankfurt ( 069/ Fax 069/ fra@multi-logistics.de Berlin ( 030/ Fax 030/ ber@multi-logistics.de Hamburg ( 040/ Fax 040/ ham@multi-logistics.de 47

48 NEW FILMS FROM GERMANY CANNES 2018 GERMAN PAVILION #123 VILLAGE INTERNATIONAL RIVIERA Design: triptychon.biz Photo: Westend61/Dieter Heinemann FOCUS GERMANY phone +33-(0) GERMAN FILMS phone +33-(0)