Blogposts in December 2016:
German premiere at the 67th Berlinale for SELBSTKRITIK EINES BÜRGERLICHEN HUNDES/SELF-CRITICISM OF A BOURGEOIS DOG
As the year draws to a close, we are delighted to announce that Julian Radlmaier’s degree film SELBSTKRITIK EINES BÜRGERLICHEN HUNDES (Director/Screenplay: Julian Radlmaier, Cinematography: Markus Koob, Production: Kirill Krasovskiy) will have its German premiere during the 67th Berlinale in the section showcasing German film, Perspektive Deutsches Kino!
An excerpt from the Berlinale press release:
“In Julian Radlmaier’s new film, Selbstkritik eines bürgerlichen Hundes (Self-criticism of a Bourgeois Dog, prod: Faktura Film, co-prod: DFFB), a bourgeois dog confesses how he has gone through multiple transformations, from a love-struck filmmaker, to an apple picker, a traitor of the revolution, and, last but not least, a four-legged creature. In a political comedy full of burlesque escapades, we meet Camille, a young Canadian (Deragh Campbell); Hong and Sancho, a pair of proletarians who believe in miracles; a mute monk with magical powers; and a bunch of strange field labourers who indulge in idealistic visions.”
We are looking forward to the new year, and wish you a happy and peaceful Christmas and all the best for 2017!
From 23th.-29th. January 2017 the film world will be meeting at the 38th. Max Ophüls Preis Film Festival in Saarbrücken.
And we will be represented there too – with five films:
LIEBES ICH/DEAR ME (Director/Screenplay/Cinematography: Luise Makarov, Production: Jonas Rothländer) will have its world premiere in the Documentary Competition;
VANATOARE (Director: Alexandra Balteanu, Screenplay: Xandra Popescu, Cinematography: Matan Radin, Production: Stanislav Danylyhyn) will screen in the Feature Film Competition;
SEVINCE (Director / Screenplay: Süheyla Schwenk, Cinematography: Florian Wurzer, Production: Süheyla Schwenk, Florian Wurzer, Henning Wagner) is participating in the Medium-Length Films Competition;
and MILCH KAPUTT 3 PAPIER (Director: Tim Kochs, Screenplay: Jonas Lindt, Cinematography: Antonia Lange, Production: Senem Göcmen) has been invited to the festival’s Short Films Competition.
The short firm VIKTORIA (Director: Mónica Lima, Screenplay: Mónica Lima, Gonçalo Branco, Cinematography: David Wilhelm Schmitt, Production: Luise Hauschild) will also be shown in Saarbrücken as part of a screening series in cooperation with Cottbus Film Festival.
We are looking forward to 2017!
ETAGE X (Director/Screenplay: Francy Fabritz, Cinematography: Sarah Vetter, Production: Eike Eckold), which premiered at the 69th Locarno Film Festival has received the accolade Highly Commended from the German Film Quality Assessment Board (FBW).
The press release states:
“Viewers watching Francy Fabritz’ 14-minute short film simply cannot guess how it will unfold. And that is precisely what makes this charmingly mischievous tale so appealing. Eva Medusa Gühne and Morgana Muses give outstanding performances in roles that involve absolutely no dialogue. Both figures are initially withdrawn, just as the carefully selected costumes are stiff, decorous and conservative, betraying nothing of the inner yearnings that both women will give vent to in the course of the narrative. Fabritz skilfully stages this sudden shift in mood. The intimate camerawork, perfectly timed editing and strikingly close-up sound conjure up an ambience that almost makes the audience feel as if they are in the lift too.”
Once again we agree entirely with the jury and convey our warmest congratulations to the film team!
Thanks to the DFFB’s 50th anniversary, this festival will unfurl from 20th to 22nd January in the recently renovated EISZEIT CINEMA. The festival team has curated 12 film programmes with the best, most gripping, coolest must-see DFFB films from the last four years. There’s something for everyone: from short or medium-length to full-length films, from documentaries to films for children and adolescents. We are looking forward to a DFFB weekend in the EISZEIT cinema. Spread the word!
You will find all the further information on the festival here
Our warmest congratulations to the winner of the European Film Award: the entire “Toni Erdmann” team, and in particular of course to producer Jonas Dornbach, a DFFB alumnus.
And to the winner of the European Discovery - Prix FIPRESCI “The Happiest Day in the life of Olli Mäki” by Juho Kuosmanen, produced by One Two Films and our alumnus Sol Bondy.
The test exercises for study applications for the, directing, cinematography and production screenplay courses for the 2017/18 academic year are online.
Here is the link to the Directing Application
Here is the link to the Cinematography Application
Here is the link to the Production Application
Here is the link to the Screenwriting Application
The deadline for all applications is 6th January 2017.
Good luck to all applicants!
IHR SOHN/HER SON (Director: Katharina Woll, Screenplay: Florian Plumeyer, Cinematography: Albrecht von Grünhagen, Production: Markus Kaatsch) has received the accolade “Highly Commended” from the German Film Quality Assessment Board (FBW)!
The accompanying press release states:
“She is evasive when he wants to meet. She is very busy, running a downtown gallery. She has scant interest in the music he makes, which is his whole life these days. But now something has changed. And he won’t be able to shake her off any longer. For he is her son, after all, and always will be. Katharina Woll’s film IHR SOHN / HER SON consistently assumes the son’s perspective. The camera is doggedly on his tracks, showing him head-on in a close-up, skulking on his heels, following him when he sets out to look for his mother. Sebastian Urzendowsky plays the son with an impressive blend of the subdued uncertainty he has learnt to assume and the defiance of a young man no longer prepared to accept his ascribed role as a perpetually neglected son. Acting opposite him is the fantastic Marie-Lou Sellem as the mother.(…)The dialogues in IHR SOHN/ HER SON are precise and acutely perceptive. Initially their conflicts still look like duels, yet increasingly subtle nuances subsequently appear, offering glimpses of warmth and genuine love. Woll conveys this through both the minimalistic, precisely placed dialogue and the serenely assured visual language, often entirely without words; despite the reserved restraint of the images, she describes a moving rapprochement between mother and son, sustained too by the intelligent and highly apposite sound design. The ambience, form and content of this short film are all outstanding.”
We could not agree more, and congratulate the whole team!