Matthias Glasner’s Dying leads the Lolas, the German Film Awards, with nine nominations, including for best feature film, director, screenplay, and score.
Additionally, Lars Eidinger has been nominated as best actor and Corinna Harfouch as best actress; Robert Gwisdek and Hans-Uwe Bauer have both been nominated for best supporting actor.
The family drama premiered in competition at the Berlinale last month and will be released in Germany by Wild Bunch on April 25.
The Lolas will take place at a ceremony in Berlin on May 3.
Timm Kröger’s second feature The Universal Theory, which premiered in Venice’s Horizons section last September,...
Additionally, Lars Eidinger has been nominated as best actor and Corinna Harfouch as best actress; Robert Gwisdek and Hans-Uwe Bauer have both been nominated for best supporting actor.
The family drama premiered in competition at the Berlinale last month and will be released in Germany by Wild Bunch on April 25.
The Lolas will take place at a ceremony in Berlin on May 3.
Timm Kröger’s second feature The Universal Theory, which premiered in Venice’s Horizons section last September,...
- 3/19/2024
- ScreenDaily
The German Film Academy has announced the movies in competition this year for the German Film Awards, the local equivalent of the Oscars.
Matthias Glasner’s epic family drama Dying, Timm Kröger’s experimental sci-fi feature The Universal Theory, and In the Blind Spot, Ayşe Polat’s documentary-style conspiracy thriller set in modern-day Turkey, are among the favorites for this year’s awards, called the Lolas.
Dying, which stars Lars Eidinger as a classical conductor with an extremely dysfunctional family, picked up nominations in every major category, including best film, best director and best screenplay nominations for Glasner, a best actor nom for Eidinger and a best actress nomination for Corinna Harfoch, who plays Eidinger’s mother. In total, the film is up for nine Lolas.
The Universal Theory, a black-and-white drama about the multiverse, is also in the running for the best film Lola, and Kröger is up for best director.
Matthias Glasner’s epic family drama Dying, Timm Kröger’s experimental sci-fi feature The Universal Theory, and In the Blind Spot, Ayşe Polat’s documentary-style conspiracy thriller set in modern-day Turkey, are among the favorites for this year’s awards, called the Lolas.
Dying, which stars Lars Eidinger as a classical conductor with an extremely dysfunctional family, picked up nominations in every major category, including best film, best director and best screenplay nominations for Glasner, a best actor nom for Eidinger and a best actress nomination for Corinna Harfoch, who plays Eidinger’s mother. In total, the film is up for nine Lolas.
The Universal Theory, a black-and-white drama about the multiverse, is also in the running for the best film Lola, and Kröger is up for best director.
- 3/19/2024
- by Scott Roxborough
- The Hollywood Reporter - Movie News
Picturehouse Entertainment has acquired UK and Ireland rights to Matthias Glasner’s Berlinale Competition Dying from The Match Factory.
The melodrama follows a woman secretly enjoying her husband’s deteriorating health before death knocks on her door as well, causing estranged family members to reconnect.
Corinna Harfouch, Lars Eidinger, Lilith Stangenberg, Ronald Zehrfeld, Robert Gwisdek and Anna Bederke lead the cast.
Dying picked up several prizes in Berlin including the silver bear in best screenplay. It scored a solid 2.8 on Screen’s critics jury grid.
‘Dying’: Berlin Review
The feature is written by Glasner who also produces with Jan Krüger and Ulf Israel.
The melodrama follows a woman secretly enjoying her husband’s deteriorating health before death knocks on her door as well, causing estranged family members to reconnect.
Corinna Harfouch, Lars Eidinger, Lilith Stangenberg, Ronald Zehrfeld, Robert Gwisdek and Anna Bederke lead the cast.
Dying picked up several prizes in Berlin including the silver bear in best screenplay. It scored a solid 2.8 on Screen’s critics jury grid.
‘Dying’: Berlin Review
The feature is written by Glasner who also produces with Jan Krüger and Ulf Israel.
- 3/12/2024
- ScreenDaily
Writer-director Matthias Glasner’s Dying, a nuanced anatomy of a dysfunctional German family, begins with Lissy (Corinna Harfouch) prostrated on the living room floor covered in feces and unable to move. Meanwhile, her husband, Gerd (Hans-Uwe Bauer), aimlessly parades around their apartment in the buff. Clearly withdrawn from reality, he doesn’t register Lissy’s presence, let alone her distress, as he walks in front of her.
We’ll learn across this poignant and unforgiving saga of the origins and results of lovelessness that this is an average day in the life of the elderly couple. And while it’s easy to read this disturbing opening as a raw portrait of the predicaments of old age, the scene is ultimately understood as the embodiment of an entire family’s sad state of affairs: It always seems as if someone in the Lunies clan is drowning in shit and everyone else is looking the other way.
We’ll learn across this poignant and unforgiving saga of the origins and results of lovelessness that this is an average day in the life of the elderly couple. And while it’s easy to read this disturbing opening as a raw portrait of the predicaments of old age, the scene is ultimately understood as the embodiment of an entire family’s sad state of affairs: It always seems as if someone in the Lunies clan is drowning in shit and everyone else is looking the other way.
- 2/26/2024
- by Diego Semerene
- Slant Magazine
Lissy (Corinna Harfouch) is huddled on the floor in her nightgown, trying to ring her son. Her legs and nightgown are smeared brown with her regular nightly incontinence, but it is her husband who worries her: Gerd (Hans-Uwe Bauer) has wandered outside again, not sure where he is and wearing no pants. Her neighbor is at the door, insisting on being helpful, while Lissy just wants her to cut short this humiliation; has she spotted that even the phone is now daubed with excrement?
Old age ain’t no place for sissies, as Bette Davis famously said. The usual riposte is that it’s better than the alternative, but Matthias Glasner’s long, absorbing and intermittently very funny film calls that into question. Life, even before the debilities of age become its main feature, is the real difficulty.
Glasner’s story is a version of a traditional family saga, but...
Old age ain’t no place for sissies, as Bette Davis famously said. The usual riposte is that it’s better than the alternative, but Matthias Glasner’s long, absorbing and intermittently very funny film calls that into question. Life, even before the debilities of age become its main feature, is the real difficulty.
Glasner’s story is a version of a traditional family saga, but...
- 2/19/2024
- by Stephanie Bunbury
- Deadline Film + TV
Unabashedly sporting the most inauspicious of titles, a three-hour running time and a logline that features terminally ill elders and self-destructive descendants, German feature Dying (Sterben) looks like a hard sell on paper. And yet writer-director Matthias Glasner’s crisscrossing family drama manages to be exceedingly funny, often in some of its darkest moments, as well as expectedly sad.
Anchored by a nuanced, detailed performance by Lars Eidinger as Tom, an orchestra conductor juggling all manner of personal and professional commitments, and pitch-perfect turns by Corinna Harfouch, Lilith Stangenberg and Ronald Zehrfeld as the rest of his combustible nuclear family, this richly rewards the time investment it requires. Sure, a few trims here and there wouldn’t have necessarily ruined it, and some might suggest this could work better as a multi-part limited series for upscale TV.
But it’s hard to imagine watching the musical performance set pieces anywhere...
Anchored by a nuanced, detailed performance by Lars Eidinger as Tom, an orchestra conductor juggling all manner of personal and professional commitments, and pitch-perfect turns by Corinna Harfouch, Lilith Stangenberg and Ronald Zehrfeld as the rest of his combustible nuclear family, this richly rewards the time investment it requires. Sure, a few trims here and there wouldn’t have necessarily ruined it, and some might suggest this could work better as a multi-part limited series for upscale TV.
But it’s hard to imagine watching the musical performance set pieces anywhere...
- 2/19/2024
- by Leslie Felperin
- The Hollywood Reporter - Movie News
Over three hours and five different chapters, Matthias Glasner’s “Dying” chronicles the travails of an estranged family of four: an elderly couple on the brink of death, their successful composer son and their alcoholic, ne’er-do-well daughter. The film casts a wide net over their experiences, and every leading performance is as impeccable as the last. However, Glasner’s formal rigidity prevents their stories from feeling intrinsically bound, leaving each of them with little to say.
The film opens in the German countryside with elderly couple Lissy (Corinna Harfouch) and Gerd Lunies (Hans-Uwe Bauer) being found helpless by a neighbor. Lissy’s litany of ailments render her only semi-mobile, and she often ends the day by soiling herself, while Gerd’s dementia leads him to wander naked into people’s homes. They can’t help each other, and their adult children are too preoccupied with their own metropolitan lives to get involved.
The film opens in the German countryside with elderly couple Lissy (Corinna Harfouch) and Gerd Lunies (Hans-Uwe Bauer) being found helpless by a neighbor. Lissy’s litany of ailments render her only semi-mobile, and she often ends the day by soiling herself, while Gerd’s dementia leads him to wander naked into people’s homes. They can’t help each other, and their adult children are too preoccupied with their own metropolitan lives to get involved.
- 2/18/2024
- by Siddhant Adlakha
- Variety Film + TV
Ready for another deliciously outré performance from Lars Eidinger, everybody’s favorite German arthouse weirdo (known for his work in Personal Shopper, Clouds of Sils Maria, White Noise, and on and on)? Well, strap in for Sterben (Dying) from German director Matthias Glasner.
In the exclusive first trailer from The Match Factory (see below), Eidinger plays Tom, a Berlin conductor with more than a few personal issues to deal with.
Dying is a rare new feature from Glasner who, unlike his prolific star, has kept his filmography tight. (His last feature was 2012’s Gnade.) Judging by the trailer, and Glasner’s previous work, including 2006 Silver Bear winner The Free Will, Dying looks like another powerful mix of melodrama, wry humor and philosophical ponderings about the “big questions” of life and, given the title, of death.
“The name of the piece… is ‘Dying’,” a high-strung composer, played by Robert Gwisdek, instructs the orchestra.
In the exclusive first trailer from The Match Factory (see below), Eidinger plays Tom, a Berlin conductor with more than a few personal issues to deal with.
Dying is a rare new feature from Glasner who, unlike his prolific star, has kept his filmography tight. (His last feature was 2012’s Gnade.) Judging by the trailer, and Glasner’s previous work, including 2006 Silver Bear winner The Free Will, Dying looks like another powerful mix of melodrama, wry humor and philosophical ponderings about the “big questions” of life and, given the title, of death.
“The name of the piece… is ‘Dying’,” a high-strung composer, played by Robert Gwisdek, instructs the orchestra.
- 2/17/2024
- by Scott Roxborough
- The Hollywood Reporter - Movie News
The German-based distribution and production company Port au Prince Film And Kultur Produktion has hired Roshanak “Rosh” Khodabakhsh as a producer and executive board member.
Khodabakhsh will start the role on March 1. One of her tasks will be to further expand and lead the company’s Berlin branch.
Khodabakhsh mostly recently spent three years at the German distributor-producer Dcm, where she was a producer. Prior to Dcm, Khodabakhsh spent six years as a freelance production coordinator and production manager on projects such as Netflix’s Sense8, UFA’s Charité, and the X Filme series Babylon Berlin. She has also worked with directors such as Tom Tykwer, Sönke Wortmann, Fatih Akin (The Golden Glove), Jan Schomburg (Divine), and Ilya Khrzhanovsky (Dau).
Port Au Prince Producer and Managing Director Jan Krüger previously collaborated with Khodabakhsh in 2009 on Ali Samadi-Ahadi’s Grimme Award-winning doc The Green Wave.
“I would like to thank Marc Schmidheiny,...
Khodabakhsh will start the role on March 1. One of her tasks will be to further expand and lead the company’s Berlin branch.
Khodabakhsh mostly recently spent three years at the German distributor-producer Dcm, where she was a producer. Prior to Dcm, Khodabakhsh spent six years as a freelance production coordinator and production manager on projects such as Netflix’s Sense8, UFA’s Charité, and the X Filme series Babylon Berlin. She has also worked with directors such as Tom Tykwer, Sönke Wortmann, Fatih Akin (The Golden Glove), Jan Schomburg (Divine), and Ilya Khrzhanovsky (Dau).
Port Au Prince Producer and Managing Director Jan Krüger previously collaborated with Khodabakhsh in 2009 on Ali Samadi-Ahadi’s Grimme Award-winning doc The Green Wave.
“I would like to thank Marc Schmidheiny,...
- 2/15/2023
- by Zac Ntim
- Deadline Film + TV
Rammstein’s video for “Zeit,” the title track for their upcoming album, is the typically surrealistic and sensational kind of clip people expect from the German industro-metal group.
There are shots of people drowning, scary wraith-like figures menacing kids in a fight, and the band members delivering babies as the sands of time surround them — all in reverse. It’s a visual feast, courtesy of director Robert Gwisdek, for an epic ballad in the group’s signature style, as frontman Till Lindemann sings in German about wishing time to stand still.
There are shots of people drowning, scary wraith-like figures menacing kids in a fight, and the band members delivering babies as the sands of time surround them — all in reverse. It’s a visual feast, courtesy of director Robert Gwisdek, for an epic ballad in the group’s signature style, as frontman Till Lindemann sings in German about wishing time to stand still.
- 3/10/2022
- by Kory Grow
- Rollingstone.com
Famed for her turbulent lifestyle and intense on-and-off relationship with legendary French actor Alain Delon, Austrian actress Romy Schneider became a sensation at home when she was still in her teens by starring in a series of films about Empress Elisabeth of Austria in the hugely successful Austrian Sissi trilogy. She later moved to France where she made some of the most successful films of her career with some of the most acclaimed directors of the 60s and 70s including Luchino Visconti, René Clément and many more.
A year before her untimely death at the age of 43 and whilst at a detox clinic in the seaside town of Quiberon, Brittany, Schneider posed for exclusive photos and gave a deeply alarming and honest interview to a German journalist about her state of mind. In her new film 3 Days In Quiberon, director Emily Atef (The Stranger in Me) offers a beautifully...
A year before her untimely death at the age of 43 and whilst at a detox clinic in the seaside town of Quiberon, Brittany, Schneider posed for exclusive photos and gave a deeply alarming and honest interview to a German journalist about her state of mind. In her new film 3 Days In Quiberon, director Emily Atef (The Stranger in Me) offers a beautifully...
- 11/16/2018
- by Linda Marric
- HeyUGuys.co.uk
Emily Atef’s chamber piece takes best film, best director and best actress amongst others.
Emily Atef’s 3 Days in Quiberon was the big winner at this year’s German Film Awards in Berlin at the weekend, taking home seven Lolas from ten nominations.
The Rohfilm Factory production received the Golden Lola for best film – with a cash prize of €500,000 - as well as statuettes for director Atef, lead actress Marie Bäumer, supporting actors Birgit Minichmayr and Robert Gwisdek, DoP Thomas W. Kiennast, and composers Christoph M. Kaiser and Julian Maas.
The chamber piece - about German-French star Romy Schneider...
Emily Atef’s 3 Days in Quiberon was the big winner at this year’s German Film Awards in Berlin at the weekend, taking home seven Lolas from ten nominations.
The Rohfilm Factory production received the Golden Lola for best film – with a cash prize of €500,000 - as well as statuettes for director Atef, lead actress Marie Bäumer, supporting actors Birgit Minichmayr and Robert Gwisdek, DoP Thomas W. Kiennast, and composers Christoph M. Kaiser and Julian Maas.
The chamber piece - about German-French star Romy Schneider...
- 5/1/2018
- by Martin Blaney
- ScreenDaily
Christian Petzold, Emily Atef, Lance Daly join Berlinale.
Source: Great Point Media
‘Damsel’
Another ten films have joined the Competition of the 68th edition of the Berlin International Film Festival (Feb 15 - 25). Three more have also been selected for the programme of the Berlinale Special.
Joining the eight Competition films and two Berlinale Special titles are 13 productions from Argentina, Australia, Austria, Brazil, Bulgaria, Czech Republic, France, Germany, Hong Kong - China, Iran, Ireland, Luxembourg, Norway, Paraguay, People’s Republic of China, Romania, Sweden, Switzerland, the United Kingdom, Uruguay, and the USA.
Joining the main competition are Barbara and Phoenix director Christian Petzold’s new drama Transit, a contemporary reworking of Anna Seghers’ 1944 novel about refugees attempting to flee through Marseille after the Nazi invasion of France in 1940. The film stars Frantz breakout Paula Beer.
Also new to competition is David and Nathan Zellner’s Damsel, the western about a Us businessman who travels to join his fiancée...
Source: Great Point Media
‘Damsel’
Another ten films have joined the Competition of the 68th edition of the Berlin International Film Festival (Feb 15 - 25). Three more have also been selected for the programme of the Berlinale Special.
Joining the eight Competition films and two Berlinale Special titles are 13 productions from Argentina, Australia, Austria, Brazil, Bulgaria, Czech Republic, France, Germany, Hong Kong - China, Iran, Ireland, Luxembourg, Norway, Paraguay, People’s Republic of China, Romania, Sweden, Switzerland, the United Kingdom, Uruguay, and the USA.
Joining the main competition are Barbara and Phoenix director Christian Petzold’s new drama Transit, a contemporary reworking of Anna Seghers’ 1944 novel about refugees attempting to flee through Marseille after the Nazi invasion of France in 1940. The film stars Frantz breakout Paula Beer.
Also new to competition is David and Nathan Zellner’s Damsel, the western about a Us businessman who travels to join his fiancée...
- 1/15/2018
- by Andreas Wiseman
- ScreenDaily
Christian Petzold, Emily Atef, Lance Daly join Berlinale.
Source: Great Point Media
‘Damsel’
Another ten films have joined the Competition of the 68th edition of the Berlin International Film Festival. Three more have also been selected for the programme of the Berlinale Special.
Joining the eight Competition films and two Berlinale Special titles are 13 productions from Argentina, Australia, Austria, Brazil, Bulgaria, Czech Republic, France, Germany, Hong Kong - China, Iran, Ireland, Luxembourg, Norway, Paraguay, People’s Republic of China, Romania, Sweden, Switzerland, the United Kingdom, Uruguay, and the USA.
Additional films for both categories are due to be revealed soon. Films announced today are:
Competition
3 Tage in Quiberon (3 Days in Quiberon)
Germany / Austria / France
By Emily Atef (Molly’s Way, The Stranger In Me)
With Marie Bäumer, Birgit Minichmayr, Charly Hübner, Robert Gwisdek, Denis Lavant
World premiere
Black 47
Ireland / Luxembourg
By Lance Daly (Kisses, The Good Doctor)
With Hugo Weaving, James Frecheville, Stephen Rea, [link...
Source: Great Point Media
‘Damsel’
Another ten films have joined the Competition of the 68th edition of the Berlin International Film Festival. Three more have also been selected for the programme of the Berlinale Special.
Joining the eight Competition films and two Berlinale Special titles are 13 productions from Argentina, Australia, Austria, Brazil, Bulgaria, Czech Republic, France, Germany, Hong Kong - China, Iran, Ireland, Luxembourg, Norway, Paraguay, People’s Republic of China, Romania, Sweden, Switzerland, the United Kingdom, Uruguay, and the USA.
Additional films for both categories are due to be revealed soon. Films announced today are:
Competition
3 Tage in Quiberon (3 Days in Quiberon)
Germany / Austria / France
By Emily Atef (Molly’s Way, The Stranger In Me)
With Marie Bäumer, Birgit Minichmayr, Charly Hübner, Robert Gwisdek, Denis Lavant
World premiere
Black 47
Ireland / Luxembourg
By Lance Daly (Kisses, The Good Doctor)
With Hugo Weaving, James Frecheville, Stephen Rea, [link...
- 1/15/2018
- by Andreas Wiseman
- ScreenDaily
Films by Roman Polanski and Martin Scorsese may be the headline-grabbers at the festival this year, but the real gems, such as Banksy's new creation, are to be found elsewhere
The star of this year's 60th anniversary Berlin film festival was crowned in his (inevitable) absence: Banksy, the British street artist, situationist, anarchist and all-round genius, presented us with his movie Exit Through the Gift Shop. The man himself only appeared in darkness, with his voice distorted. This was both tricksy self-portrait and cheeky docu-scam, satirising contemporary art craziness.
Blanked-out tongue somewhere in his pixelated cheek, Banksy tells us the story of his supposed relationship with a hyperactive French videographer, one Thierry Guetta, who has, it seems, been following him around – Boswell to Banksy's Johnson. A few years back, allegedly encouraged by Banksy, this man apparently suddenly stopped being an amateur cameraman and suddenly turned into a self-taught street artist called Mr Brainwash,...
The star of this year's 60th anniversary Berlin film festival was crowned in his (inevitable) absence: Banksy, the British street artist, situationist, anarchist and all-round genius, presented us with his movie Exit Through the Gift Shop. The man himself only appeared in darkness, with his voice distorted. This was both tricksy self-portrait and cheeky docu-scam, satirising contemporary art craziness.
Blanked-out tongue somewhere in his pixelated cheek, Banksy tells us the story of his supposed relationship with a hyperactive French videographer, one Thierry Guetta, who has, it seems, been following him around – Boswell to Banksy's Johnson. A few years back, allegedly encouraged by Banksy, this man apparently suddenly stopped being an amateur cameraman and suddenly turned into a self-taught street artist called Mr Brainwash,...
- 2/15/2010
- by Peter Bradshaw
- The Guardian - Film News
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