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Mackie Messer – Brechts Dreigroschenfilm[/caption]
16 German film productions are celebrating their world premiere in the New German Cinema section of the Filmfest München – Munich International Film Festival. Starting things off is Joachim A. Lang’s “
Mackie Messer – Brechts Dreigroschenfilm“, the opening film of the 36th Filmfest München, whose message is Brecht’s aphorism “In the contradiction lies the hope.”
Against the backdrop of historical circumstances, Oliver Haffner’s feature film “Wackersdorf – Be Alert, Courageous and Solidaric” raises a sensitive question about political activism: as personal as it is suspenseful, the film depicts opposition to the construction of a nuclear reprocessing plant in 1980s Bavaria.
“Safari – Match Me If You Can” by Munich director Rudi Gaul is about love in the digital age. A new dating app, Safari, makes the Bavarian capital a vehicle for self-promotion. Arthur Schnitzler’s stage play “La Ronde” is catapulted into the present day, with hilarious consequences.
Robert Bohrer and Emma Rose have submitted a most unusual “Love Movie”. An apathetic thirtysomething falls in love with a war photographer, and together they experience all the highs and lows of a relationship.
Jakob Lass, whose “Love Steaks” earned the Förderpreis Neues Deutsches Kino in four categories in 2013, is back in Munich. In his latest film, “Right Here Right Now”, we live through the last night of a Hamburg club and everything that a good farewell party entails. Partying is also a theme in Henning Gronkowski’s “Yung”. The film portrays Berlin teenagers on their (often wrong) way through the city and through life. Naturally this includes hedonism, sexuality, and drugs.
Several of the films in this year’s New German Cinema section broach the issue of relations between the sexes. Linus de Paoli’s thriller “A Young Man with High Potential” is the shocking story of a highly intelligent but prudish student of computer science who turns to chemical substances when rejected by the object of his affection. By contrast, in Leonel Dietsche’s “The New End”, only the men survive in a post-apocalyptic world in which might makes right.
Philipp Eichholtz’s comedy “Everything Always All the Time” is a bit more playful and lighthearted. In, Kim would like to be a man. That isn’t such an easy thing when others must first get used to this kind of new identity.
In Eva Trobisch’s drama, the protagonist tells herself things will be “All Good”. Since being raped, she does everything she can to keep up appearances — in order not to lose her job. Ann-Kristin Reyels’ “We Were Just Playing” is another film in which a character has a dark secret. Miro and Jona come from different worlds and want to be friends nonetheless.
Damian John Harper’s “In the Middle of the River” is about a traumatic incident: a young man returns to his home town to kill his grandfather. At the moment of truth, his plan is thwarted and the two men are forced to spend the rest of the day with each other. Family situations with a potential for conflict are also at the root of Michael Klier’s chamber play “Family Idiots”, about a mentally disabled girl whose family must decide whether to send her to an institution. It’s a moral question that threatens to pit the family members against each other. Katinka Narjes’ film “Sirens” is also about family ties: the bond between two sisters is indestructible, yet they must learn to let go.
Two documentaries are part of the New German Cinema section in 2018. In “The Brasch Family”, Annekatrin Hendel tells the story of three generations of a German family full of history, conflicts, and twists. In the meantime, Lola Randl, a previous guest at Filmfest München, offers a subjective and personal exercise in self-experimentation with “The Bees and the Birds”, moving to the countryside and exploring alternative ways of living both in front of and behind the camera.
As usual, the best achievements by new directors in the New German Cinema section will be awarded the Förderpreis Neues Deutsches Kino. The FIPRESCI Award will also be given for the fourth time to the best film in the section.
All the films in the New German Cinema section:
“A Young Man with High Potential”
by Linus de Paoli, Germany 2018
starring Adam Ild Rohweder, Amanda Plummer, Paulina Galazka, Vanja Bajdarova, Pit Bukowski Schattenkante, Hahn Film
“Alles ist gut” (“All Good”)
by Eva Trobisch, Germany 2018
starring Aenne Schwarz, Andreas Döhler, Hans Löw, Tilo Nest, Lina Wendel
TRIMAFILM GmbH, Starhaus Filmproduktion, BR
“Ende Neu” (“The New End”)
by Leonel Dietsche, Germany 2018
starring Sylvester Groth, Georg Friedrich, Milena Tscharntke, Samuel Schneider, Mick Morris Mehnert
Filmakademie Baden-Württemberg, SWR, Paxfilm
“Familie Brasch” (“The Brasch Family”)
by Annekatrin Hendel, Germany 2018
starring Marion Brasch, Katharina Thalbach, Christoph Hein, Bettina Wegner, Florian Havemann
IT WORKS! Medien GmbH, von Vietinghoff Filmproduktion, RBB, SWR, MDR
“Idioten der Familie” (“Family Idiots”)
by Michel Klier, Germany 2018
starring Lilith Stangenberg, Jördis Triebel, Hanno Koffler, Florian Stetter, Kai Scheve
Michael Klier-Film, almost famous UG, RBB, Arte
“In the Middle of the River”
by Damian John Harper, Germany/USA 2018
starring Eric Hunter, Max Thayer, Nikki Lowe, Matthew T. Metzler, Ava Del Cielo
Weydemann Bros., ZDF – Das kleine Fernsehspiel, Arte
“Kim hat einen Penis” (“Everything Always All the Time”)
by Philipp Eichholtz, Germany 2018
starring Martina Schöne-Radunski, Christian Ehrich, Stella Hilb, Matthias Lier, Lana Cooper
Von Oma gefördert
“Liebesfilm” (“Love Movie”)
by Robert Bohrer, Emma Rosa Simon, Germany 2018
starring Eric Klotzsch, Lana Cooper, Hartmut Becker, Sabine Vitua, Gerdy Zint
BASIS BERLIN Filmproduktion, Deutsche Film- und Fernsehakademie Berlin (DFFB), ZDF – Das kleine Fernsehspiel
“Mackie Messer – Brechts Dreigroschenfilm”
by Joachim A. Lang, Germany 2018 starring Lars Eidinger, Tobias Moretti, Hannah Herzsprung, Joachim Król, Claudia Michelsen
Zeitsprung Pictures GmbH, SWR, Arte, Velvet Films
“Nixen” (“Sirens”)
by Katinka Narjes, Germany 2018
starring Odine Johne, Lucy Wirth, Emelie Harbrecht, Roland Bonjour
Deutsche Film- und Fernsehakademie Berlin (DFFB)
“Safari – Match Me If You Can”
by Rudi Gaul, Germany 2018
starring Justus von Dohnányi, Sunnyi Melles, Elisa Schlott, Juliane Köhler, Max Mauff
Rat Pack Filmproduktion GmbH, Tele München GmbH, Martin Richter Filmproduktion
“So was von da” (“Right Here Right Now”)
by Jakob Lass, Germany 2018
starring Niklas Bruhn, Tinka Fürst, David Schütter, Mathias Bloech, Bela B. Felsenheimer
C-Films Deutschland GmbH, DCM Pictures GmbH, Tatami Films GmbH
“Von Bienen und Blumen” (“The Bees and the Birds”)
by Lola Randl, Germany 2018
starring Lola Randl
DETAiLFILM GmbH, Tohuwabohu GmbH
“Wackersdorf” (“Wackersdorf – Be Alert, Courageous and Solidaric”)
by Oliver Haffner, Germany 2018
starring Johannes Zeiler, Anna Maria Sturm, Peter Jordan, Fabian Hinrichs, Sigi Zimmerschied
if… Productions, BR, Arte
“Wir haben nur gespielt” (“We Were Just Playing”)
by Ann-Kristin Reyels, Germany 2018
starring Finn-Henry Reyels, Roman Bkhavnani, Silke Bodenbender, Godehard Giese
kurhaus production Film & Medien GmbH, ZDF – Das kleine Fernsehspiel
“Yung”
by Henning Gronkowski, Germany 2018
starring Janaina Liesenfeld, Emily Lau, Joy Grant, Abbie Dutton
G.G. Production GmbH, deutschfilm GmbH
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Following a new generation of young Afghan women cyclists, the documentary Afghan Cycles uses the bicycle to tell a story of women’s rights – human rights – and the struggles faced by Afghan women on a daily basis, from discrimination to abuse, to the oppressive silencing of their voices in all aspects of contemporary society. These women ride despite cultural barriers, despite infrastructure, and despite death threats, embracing the power and freedom that comes with the sport. Afghan Cycles will have its East Coast premiere at the Brooklyn Film Festival, screening on June 7 and 8, 2018.
Focusing on local impact, Afghan Cycles is partnering with local organizations Women for Afghan Women, Get Women Cycling, Bicycle Habitat, BikeStyle and Girls on Bikes. On Thursday, June 7, Get Women Cycling will be hosting a group ride to the screening, and following the screening on Friday June 8, the partner organizations will join Afghan Cycles Director Sarah Menzies for a panel discussion following the film.
“The women in this film represent the positive impact that sports can have in oppressive societies. Cycling has empowered these women to get around more freely and independently when they would otherwise have to rely on a man. This is not unique to Afghanistan. In fact, in many countries women do not have the freedom of mobility and are dependent on men to travel safely,” says Menzies. “This brave group of Afghan women are challenging that type of traditional thinking that is quite prevalent throughout the world, and by telling their story, we hope that it inspires more women to get on bicycles internationally.”
Luna Wedler[/caption]
Aron Lehmann’s romantic hip-hop comedy “The Most Beautiful Girl in the World”, featuring rising star Luna Wedler, newcomers Aaron Hilmer and Damian Hardung, and preeminent German actresses Anke Engelke and Heike Makatsch will world premiere at the Munich International Film Festival.
Watching streaming movies on a laptop alone is an everyday experience for any teenager. Cinema can offer so much more: a shared live experience. At the film festival, this even includes meeting stars as well as other fans. Once again, Munich International Film Festival is offering big-screen entertainment to young people between the ages of 14 and 24. The festival started in 2016 with the successful fantasy gem trilogy “Ruby Red”, “Sapphire Blue”, and “Emerald Green”. Last year, with the world premiere of Ute Wieland’s “Tigermilch” and an exclusive sneak peek at “Windstorm and the Wild Horses”, directed by Katja von Garnier, the focus was on brave girls. In 2018, the festival is pleased to continue this tradition by presenting, in cooperation with Tobis Film, the youth event “The Most Beautiful Girl in the World”. With his new film, director Aron Lehmann puts in his third appearance at Munich International Film Festival. His first feature-length film, “Kohlhaas oder die Verhältnismäßigkeit der Mittel”, opened the New German Cinema series in 2012, while “The Last Pig” was shown as part of that series in 2016.
New pupil Roxy, played by Luna Wedler, is turning all the boys’ heads. The quick-witted 17-year-old has just flunked out of her old school and is not at all interested in going on a trip with her new classmates. On the bus to Berlin, however, she soon befriends sensitive outsider Cyril (Aaron Hilmer), who quickly falls for her even though he doesn’t believe he has much of a chance with her. Roxy is interested in pretty boy Rick (Damian Hardung), who — unlike Cyril — isn’t very eloquent. And pick-up artist Benno (Jonas Ems) is also in the picture. This sounds tricky, and it is: In a daring matchmaking attempt, Cyril aims to protect Roxy from the player Benno, even if it means helping Rick to score with Roxy. He writes cool song lyrics and romantic text messages, and Roxy really goes for it. At first. But who will, in the end, win the heart of the most beautiful girl in the world?
In the comedy “The Most Beautiful Girl in the World”, European rising star Luna Wedler (“Blue My Mind”) as Roxy impresses not only newcomers Aaron Hilmer (“Sex, Pity and Loneliness”) and Damian Hardung, known from the VOX series “Red Bracelets” and the remake of “The Name of the Rose”. Director and screenplay co-author Aron Lehmann uses fresh hip-hop beats and clever turns of phrase to help narrate this turbulent and intricate romantic adventure story. This modern version of “Cyrano de Bergerac”, the famous play by Edmond Rostand from 1897 also features Anke Engelke as Cyril’s mother, Heike Makatsch and Johannes Allmayer (“Jesus Loves Me”) as teachers, and YouTube stars Jonas Ems and Julia Beautx as classmates.
The world premier of “The Most Beautiful Girl in the World” will be on Friday, June 29 at 4.30 pm at the Mathäser cinema. The national film release will be on September 6, 2018 (distribution: Tobis Film).
The Best of All Worlds (Die Beste aller Welten) by Adrian Goiginger[/caption]
Congratulations to the winners, nominees, and all the participants of the 2018 NYC Independent Film Festival. Winners include The Girl in The Woods by Sebastian Sdaigui taking the awards for Best Director and Best Short Film; 
“Over the Limit” directed by Marta Prus, is the big winner of the 58th Krakow Film Festival taking the Silver Horn for the best feature film in the International Documentary Film Competition and the Silver Hobby-Horse for the director of the best documentary film in the National Competition. The film about the remarkable Russian gymnast Margarita Mamun and the emotional costs of professional sports, received also the award for the best producer of Polish short and documentary films funded by the Polish Audiovisual Producers Chamber of Commerce (KIPA) and the Best Cinematography Award under the patronage of The Polish Society of Cinematographers.
The winner of the International Documentary Film Competition is Talal Derki’s film “Of Fathers and Sons”. The 2014 winner of the Silver Horn once again confronted Krakow audience with the sheer terror of the Syrian war. Four years after the horrifying, successful and widely discussed “Return to Homs” – the opening film of the 54th KFF – the director visited a family of a radicalized ISIS member and followed the process of forming of jihadist fighters. In “Of Fathers and Sons” the camera focuses on little boys who are being prepared the join the ranks of ISIS by their beloved fathers, for whom family is especially important. The film received this year an award for best documentary at Sundance. Jury led by Péter Forgács (Hungary) handed out the prestigious Golden Horn award for “the director’s courageous penetration into the world of extremism”. The film was also awarded by the International Federation of Film Critics Jury (FIPRESCI).
The Silver Horn for the director of the best medium-length documentary went to Pablo Aparo and Martin Benchimol for their film “The Dread” (Argentina).
The winner of the oldest festival competition – International Short Film Competition – is Armelle Mercat for her film “Keep Your Hair On, Oliver” (France).
The jury, whose chairman was Iranian director and screenwriter Merhard Oskouei, gave the French director the Golden Dragon award emphasizing that the story presented in the film was only possible to tell through animation.
Silver Dragons are the awards given to the best short films representing all three competition genres. The Silver Dragon for the best documentary film went to Michał Hytroś for his film “The Sisters” (Poland). The film received also the special mention in the National Competition. The best animated film is “Obon” (dir. André Hörmann, Samo (Anna Bergmann)). Silver Dragon for the best short fiction went to Emmanuelle Fleytoux for her film “Release the Dogs” (France/Belgium). The Krakow Film Festival also gave this film the nomination for the European Film Award in the short film category (PRIX EFA KRAKOW 2018 for the best European film).
The best music documentary and the winner of the Golden Heynal award, chosen by the Jury led by Marcin Borchardt (Polska), is an American-Japanese documentary Ryuichi Sakamoto: Coda” (dir. Stephen Nomura Schible). In this moving documentary a story about the roots of music turns into a film meditation, which talks about the human fight with inhibitions. The protagonist, an Academy Award winner for his original score for the film “The Last Emperor”, this time shows his other faces: as a music experimenter, an activist fighting against environmental degradation and a man struggling with serious illness. The film received also the Student Jury award.
The Golden Hobby-Horse in the National Competition went to “Unconditional Love” by Rafał Łysak (Poland). The Jury led by Tadeusz Sobolewski appreciated the film “for a story about an intimate reality of people from different generations, which escapes a stereotypical judgment. If we watch the world so closely it can actually be tolerant as love is unconditional”.
The best Polish animation is “III” by Marta Pajek (Poland). It is the second Silver Hobby-Horse in the artist’s career. After two years Pajek came back to the idea of an impossible figure, which this time in a sensual and full of eroticism way portrays relations between men and women.
The award for the best Polish short fiction was handed out “for an accurate, comedic attempt to encapsulate the madness of the contemporary world” to Maciej Kawalski for his film “Atlas” (Poland).
The special mention went to the last year’s winner Damian Kocur for his film “1410”.
The audience award went to the Polish director Marta Prus for her film “Over the limit”.
For the fourth time the Krakow Film Festival, being among Europe’s most important film festivals, recommends feature documentary films for the European Film Award. This year the official recommendation was given to “White Mama” (Zosya Rodkevich, Evgeniya Ostanina).
The 59th Krakow Film Festival will take place May 26th to June 2nd, 2019.
The World Premiere of Justin Lee’s heart-pounding sasquatch movie Big Legend, will open the Portland Horror Film Festival on June 13th.
Kevin Makely stars as an ex-soldier who ventures into the Pacific Northwest to uncover the truth behind his fiance’s disappearance and finds more than bargained for after teaming up with a local hunter. The powerhouse cast includes Todd A. Robinson, Summer Spiro, with horror-icons Amanda Wyss (A Nightmare on Elm Street), Adrienne Barbeau (The Fog), and Lance Henriksen (Aliens).
Director Justin Lee, actors Kevin Makely, Todd A. Robinson, and Amanda Wyss, Executive Producer Shawn Nightingale, and Producer Drew Garrettson will be in attendance for the World Premiere.
Filmed on location in the Pacific Northwest, Big Legend is a Papa Octopus Production headed by Kevin Makely, Shawn Nightingale and Justin Lee.
https://www.youtube.com/watch?v=FeAuKeB70mM
EIGHTH GRADE[/caption]
Sundance Film Festival: London ’18 wrapped after four days, with the Audience Favourite award going to 
Ethan Rice, Subject of Exit Music[/caption]
On Saturday, June 16, Rooftop Films will present the U.S. Premiere of 
The award-winning documentary The Silence of Others is a beautiful, cinematic, and poetic film about the people who are fighting for justice and a reckoning in Spain on crimes committed by the Franco regime during its brutal 40 year rule. It won the two prizes – Audience Award (Panorama) and Peace Prize at the Berlinale – 2018 Berlin International Film Festival. The Silence of Others will have its NY premiere at the 2018 Human Rights Watch Film Festival in New York City this month
Almudena Carracedo and Robert Bahar[/caption]
Directors’ Statement: In 2010, the story of Spain’s “stolen children” began to come out. The story of these crimes, with roots in the early days of Franco’s rule, led us to explore the marginalization and silencing of victims of many Franco-era crimes, ranging from extrajudicial killings at the end of the Spanish Civil War to torture that took place as recently as 1975.
As we began to learn more, we were baffled by basic questions: how could it be that Spain, unlike other countries emerging from repressive regimes, had had no Nuremberg Trials, no Truth and Reconciliation Commission, no national reckoning? Why, instead, was a “pact of forgetting” forged in Spain? And what were the consequences of that pact, 40 years into democracy, for the still-living victims of Franco’s dictatorship?
When we began filming the process of the “Argentine lawsuit” in 2012, which challenged this status quo, few thought that it would amount to much. But as we filmed those early meetings, we could see that the lawsuit was stirring up something vital, transforming victims and survivors into organizers and plaintiffs and bringing out dozens, and then hundreds, of testimonies from all over Spain.
As the number of testimonies snowballed, the case was building into a persuasive argument about crimes against humanity that demanded international justice. We thus discovered that The Silence of Others was going to be a story about possibilities, about trying to breach a wall, and that, rather than focusing on what had happened in the past, it would be all about what would happen in the future. We also saw that the film would embody great passion and urgency because, for many of the plaintiffs, this case would offer the last opportunity in their lifetimes to be heard.
Even so, as we set out filming those early meetings, we could scarcely have imagined that we would follow this story for six years and film over 450 hours of footage.
Mia Wasikowska, Robert Pattinson in Damsel.[/caption]
Next weekend, the 
The oddball comedy