Nine-person Foreign Language jury selects Cannes hit from director Maren Ade.
Germany has selected Cannes hit Toni Erdmann by Maren Ade as its submission for the Best Foreign Language Film Oscar.
Ade’s well-sold comedy about a father who tries to reconnect with his adult daughter stars Sandra Huller and Peter Simonischek.
The film, considered by many to be a strong contender to make the final shortlist, is a production by Komplizen Film, in co-production with the Austrian coop 99 Filmproduktion, knm (Monaco) and Missing Link Films.
The decision was taken by an independent jury appointed by German Films, comprising Karsten Stöter, Katharina Rinderle, Julia Weber, Jasna Vavra, Christoph Preßmar, Dunja Bialas, Felicitas Darschin, Sven Burgemeister and Heide Schwochow.
The nine-person jury said of its decision: “Toni Erdmann stood out among the eight submitted films with its resolute artistic signature. A bold and stylistically confident cinematic display of character on the pulse of the times. Maren Ade manages...
Germany has selected Cannes hit Toni Erdmann by Maren Ade as its submission for the Best Foreign Language Film Oscar.
Ade’s well-sold comedy about a father who tries to reconnect with his adult daughter stars Sandra Huller and Peter Simonischek.
The film, considered by many to be a strong contender to make the final shortlist, is a production by Komplizen Film, in co-production with the Austrian coop 99 Filmproduktion, knm (Monaco) and Missing Link Films.
The decision was taken by an independent jury appointed by German Films, comprising Karsten Stöter, Katharina Rinderle, Julia Weber, Jasna Vavra, Christoph Preßmar, Dunja Bialas, Felicitas Darschin, Sven Burgemeister and Heide Schwochow.
The nine-person jury said of its decision: “Toni Erdmann stood out among the eight submitted films with its resolute artistic signature. A bold and stylistically confident cinematic display of character on the pulse of the times. Maren Ade manages...
- 8/25/2016
- by andreas.wiseman@screendaily.com (Andreas Wiseman)
- ScreenDaily
Adopt Films has acquired U.S. rights to Frederik Steiner's feature debut, "Zurich." The film world premiered at the Hof Film Festival in Munich and follows independent-minded, twenty-year old, Lea, who has suffered from cystic fibrosis since birth, and elects to take her own life by sneaking across the boarder to a private clinic in Zurich. The film features newcomer Liv Lisa Fries as Lea, and co-stars Kerstin de Anna and Lena Stolze. The original screenplay is by Barbara te Kock, and the film was produced by Peter Heilrath, Andreas Bareiss, and Sven Burgemeister in co-production with Arri. Adopt Films President Tim Grady and its Executive VP, Marketing & Distribution Jeff Lipsky negotiated the deal with Arri Worldsales’ Director of Sales and Acquisitions Moritz Hemminger. In a joint statement Grady and Lipsky opined: “'Zurich’ got under our skin like few other films in years. Liv Lisa Fries’ performance is a revelation.
- 11/5/2013
- by Sarah Salovaara
- Indiewire
COLOGNE -- Christoph Mueller, the Oscar-nominated producer of Sophie Scholl -- The Final Days has joined Berlin-based Senator Entertainment as head of the company's production division, Senator Film Produktion. Senator announced that Mueller will take over the post July 1, replacing Benjamin Herrmann, who left the company in April. German industry veteran Peter Heinzemann has already taken up Herrmann's other job as head of Senator's distribution arm, Senator Filmverleih . Mueller joins Senator from Munich-based Goldkind film, where he is co-managing director with Sven Burgemeister. The move suggests a closer working arrangement between Goldkind and Senator could be in the works.
- 6/28/2006
- The Hollywood Reporter - Movie News
BERLIN -- Taking advantage of the discovery of long buried documents in old East German archives and recent interviews with witnesses or relatives and friends of those involved in the historical episode, the makers of Sophie Scholl -- The Final Days provide a clear and compelling account of the last six days in the life of Sophie Scholl, a resister of the Nazi regime in Germany in 1943. The movie is understandably static as the guts of the film are Sophie's interrogations by Gestapo officer Robert Mohr. But it's static electricity. The film has a jumpy, nervous energy as the two verbally dual over matters of life and death.
Rock solid performances by up-and-coming German actress Julia Jentsch as Sophie and Alexander Held (Downfall) as Mohr along with an excellent cast of supporting players insure that no one mistakes this for a lifeless docu-drama. Sophie Scholl will have its largest impact, of course, in German-speaking territories. But with interest in that era recently sparked by Downfall, the film could get picked up in many other territories.
Sophie may be a major heroine in German history, but Jentsch plays her for what she was -- an ordinary young woman who in extraordinary times finds the courage to do what is right. She and her brother Hans (Fabian Hinrichs) are members of the White Rose resistance, a group portrayed in other German films, most notably Michael Verhoeven's The White Rose. A foolish decision to smuggle anti-Nazi leaflets into Munich University and secretly distribute them while classes are in session results in the arrest of Sophie and Hans on February 18, 1943.
Director Marc Rothemund and his frequent collaborator, writer Fred Breinersdorfer, then let events speak for themselves. Separated from the others, Sophie is grilled by Mohr for hours. Initially, she denies involvement and is so convincing she is nearly released. Then comes damning evidence found in a search of the siblings' apartment. When Sophie sees her brother's confession, she too admits guilt -- and does so with pride.
Now comes Sophie's verbal dance with Mohr to protect friends and fellow collaborators. Later, Mohr offers Sophie a chance to get a milder sentence at the price of renouncing her ideals. She refuses. But the most interesting part of the interrogation comes when these two debate the goals and methods of the Nazi government and the question of how posterity will remember their differing points of view.
Mohr is a long time interrogator. His interest lies in upholding the law and not who wrote the law or whether it has anything to do with justice. Sophie contends that there is a thing called right and wrong that is separate from what any particular law says.
Mohr was a man who in 1943 must have known how badly things were going in the war -- which is the major point of the students' leaflets -- as well as being aware of the heinous deeds in the Nazi's rule. Held's Mohr never equivocates or concedes any of Sophie's points. Yet he develops a grudging admiration for her and struggles to answer some points.
Certainly, his offer to save her neck is curious if he truly believes what he says he does. It may be his final, futile attempt to win the argument. And herein lies the dramatic and moral value of the movie: Their argument transcends the Nazi era. It looks to civil courage, a thing in short supply even today.
Rothemund keeps sets, costumes and camerawork simple so the greater concentration is on his actors and the play of words. He and Breinersdorfer refuse to sentimentalize any of Sophie's decisions over these few days. But they do see her battle against tyranny as a dramatic assertion of human beings' desire for freedom no matter what the cost.
SOPHIE SCHOLL -- THE FINAL DAYS
Bavaria Films International presents a Goldkind Film and Broth Film production
Credits:
Director: Marc Rothemund
Writer: Fred Breinersdorfer
Producers: Christoph Mueller, Sven Burgemeister, Fred Breinersdorfer, Marc Rotheremund
Director of photography: Martin Langer
Production designer: Jana Karen
Music: Johnny Klimek, Reinhold Heil
Costumes: Natascha Nesslauer
Editor: Hans Funck.
Cast: Sophie Scholl: Julia Jentsch
Robert Mohr: Alexander Hold
Hans Scholl: Fabian Hinrichs
Else Gebel: Johanna Gastdort
Dr. Freisier: Andre Hennicke
Christoph Pobst: Florian Stetter
No MPAA rating
Running time -- 120 minutes...
Rock solid performances by up-and-coming German actress Julia Jentsch as Sophie and Alexander Held (Downfall) as Mohr along with an excellent cast of supporting players insure that no one mistakes this for a lifeless docu-drama. Sophie Scholl will have its largest impact, of course, in German-speaking territories. But with interest in that era recently sparked by Downfall, the film could get picked up in many other territories.
Sophie may be a major heroine in German history, but Jentsch plays her for what she was -- an ordinary young woman who in extraordinary times finds the courage to do what is right. She and her brother Hans (Fabian Hinrichs) are members of the White Rose resistance, a group portrayed in other German films, most notably Michael Verhoeven's The White Rose. A foolish decision to smuggle anti-Nazi leaflets into Munich University and secretly distribute them while classes are in session results in the arrest of Sophie and Hans on February 18, 1943.
Director Marc Rothemund and his frequent collaborator, writer Fred Breinersdorfer, then let events speak for themselves. Separated from the others, Sophie is grilled by Mohr for hours. Initially, she denies involvement and is so convincing she is nearly released. Then comes damning evidence found in a search of the siblings' apartment. When Sophie sees her brother's confession, she too admits guilt -- and does so with pride.
Now comes Sophie's verbal dance with Mohr to protect friends and fellow collaborators. Later, Mohr offers Sophie a chance to get a milder sentence at the price of renouncing her ideals. She refuses. But the most interesting part of the interrogation comes when these two debate the goals and methods of the Nazi government and the question of how posterity will remember their differing points of view.
Mohr is a long time interrogator. His interest lies in upholding the law and not who wrote the law or whether it has anything to do with justice. Sophie contends that there is a thing called right and wrong that is separate from what any particular law says.
Mohr was a man who in 1943 must have known how badly things were going in the war -- which is the major point of the students' leaflets -- as well as being aware of the heinous deeds in the Nazi's rule. Held's Mohr never equivocates or concedes any of Sophie's points. Yet he develops a grudging admiration for her and struggles to answer some points.
Certainly, his offer to save her neck is curious if he truly believes what he says he does. It may be his final, futile attempt to win the argument. And herein lies the dramatic and moral value of the movie: Their argument transcends the Nazi era. It looks to civil courage, a thing in short supply even today.
Rothemund keeps sets, costumes and camerawork simple so the greater concentration is on his actors and the play of words. He and Breinersdorfer refuse to sentimentalize any of Sophie's decisions over these few days. But they do see her battle against tyranny as a dramatic assertion of human beings' desire for freedom no matter what the cost.
SOPHIE SCHOLL -- THE FINAL DAYS
Bavaria Films International presents a Goldkind Film and Broth Film production
Credits:
Director: Marc Rothemund
Writer: Fred Breinersdorfer
Producers: Christoph Mueller, Sven Burgemeister, Fred Breinersdorfer, Marc Rotheremund
Director of photography: Martin Langer
Production designer: Jana Karen
Music: Johnny Klimek, Reinhold Heil
Costumes: Natascha Nesslauer
Editor: Hans Funck.
Cast: Sophie Scholl: Julia Jentsch
Robert Mohr: Alexander Hold
Hans Scholl: Fabian Hinrichs
Else Gebel: Johanna Gastdort
Dr. Freisier: Andre Hennicke
Christoph Pobst: Florian Stetter
No MPAA rating
Running time -- 120 minutes...
- 2/14/2005
- The Hollywood Reporter - Movie News
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