Oberhausen launches Sherry Millner's restored Disaster

One of the highlights of the 53rd edition of the International Short Film Festival Oberhaunsen that starts this week (3-8 May) is a restored print of Sherry Millner's seminal Disaster. In 1975/76, while living in San Francisco, Millner produced what has been deemed the first situationist film made in the U.S.

Disaster, a two-screen, 30 minute, b & w Super-8 film, scripted and shot by Millner and Ernest Larsen, won a major prize at the Ann Arbor Film Festival. At the time, Hollywood was producing all-star blockbusters that depicted overwhelming disaster--like The Towering Inferno and Earthquake. Millner felt that the films exploited audiences’ ardent if repressed desire to see the present day metropolis torn to bits. Buried under such spectacular ruins was the real arena of disaster--so difficult to face--everyday life.

The quotidian--that panoply of humiliations (beginning with the alarm clock’s imperious summons each morning), routines, disciplines, distractions, and fantasies which sooner or later reconcile all of us to a regimen of delayed gratification. This was the site that needed to be excavated. Millner decided to take back the cinema for her own ‘cheapskate’ cinemascope disaster epic and to use two screens to animate the gulf that yawned between the two sites of catastrophe.

Further info +

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An excerpt from the video 41 Shots by Millner and Larsen.

Interview: Julie Christie

(Embassy Pictures; Michael Gibson/Lionsgate Films)

Julie Christie comes out of hiding for Sarah Polley's debut feature Away From Her and gives an interview to the International Herald Tribune.

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The Berlin School

The Goethe-Institut London is presenting in association with the Cine lumière an intriguing programme of films called Voices Outside the Frame: The Berlin School in Recent German Cinema, between 30 April and 10 May. It will include seventeen films to highlight the work of eleven filmmakers who represent potent individual voices outside the mainstream of German cinema.

About the ‘Berlin School’

German cinema is back on the map, but its geography is not a simple one, and hence the attempts at naming its locations by defining groups and schools. The group sometimes referred to as the ‘Berlin School’ are a loose network of directors, friends or past collaborators, all based in Berlin, whose films share certain stylistic characteristics and thematic concerns. There is a restrained observant quality to many of the films; dialogues are spare, music rare; takes are often long, frames artfully composed. There is a tendency to show rather than to tell and to activate the viewer to watch and listen carefully and to fill in gaps. Though often described as ‘realist’, direct references to social and polticial issues are rare; the films are instead finely-nuanced representations of life in contemporary Germany, particularly of middle-class families, and teenagers during their difficult transition into adulthood.

The first generation of the Berlin school is represented by Thomas Arslan (Dealer, A Fine Day), Christian Petzold (Wolfsburg, Ghosts) and Angela Schanelec (Passing Summer, Marseille) who went to the Berlin Film and Television Academy (dffb), started their careers in the 90s and have made a number of films to date. They have been joined by a younger group of filmmakers who gravitated towards Berlin from other cities and film schools in Munich (Christoph Hochhäusler, Benjamin Heisenberg), Vienna (Valeska Grisebach) and Hamburg (Henner Winckler, Ulrich Köhler) and of whom most have completed two feature films in the past five to six years. In the film magazine Revolver co-founded and edited by Hochhäusler and Heisenberg, this group of filmmakers has an important platform for sharing know-how and ideas with each other and the audience.

The Films

In Wolfsburg Christian Petzold applies restraint and precision to a tragic story of guilt and revenge in which a man kills a boy with his car and tries to make up for his misdeed by trying to help the mother over her grief. Grief over a lost child is also a driving force in Petzold’s Ghosts, in which a French woman’s search for her abducted daughter leads her back to Berlin and to a young drifter who may be or may not be her child. Berlin is also the setting for Angela Schanelec’s Passing Summer which spins an intricate web of relations between a group of friends and relatives against the background of the city’s cafés, parks and lakes in the summer. Schanelec’s Marseille in contrast focuses on one person, a young photographer from Berlin, who swaps flats and tentatively tries to reinvent herself in the French city. A clearer purpose seems to drive the young Turkish-German actress in Thomas Arslan’s A Fine Day as she moves through sunny Berlin, meets a number of people and actively pursues her idea of happiness. It is also summer and the colours are rich and vibrant in Thomas Arslan’s Dealer, about a melancholy small-time gangster hoping for a big break.

Valeska Grisebach’s particular gift lies in her work with non-professional actors both in her first feature Be My Star, a gentle portrayal of first love and Longing, which, set in rural surroundings of Berlin, is a quietly-told melodrama about a man who finds himself in love with two women. Sleeper is a finely-textured psychological study of a young scientist pressed by the secret service to spy on his Algerian colleague suspected of terrorist involvement. Maria Speth’s The Days Between takes us into the moody twilight world of a young woman suspended between day and night-time jobs, a boyfriend and a lover, between youth and adulthood.

Ulrich Köhler provides the laconic portraits of two deserters: in Bungalow the deserter is young recruit who casually absents himself from his military service to hang out at his parents’ abandoned house; in Windows on Monday it is a young doctor who leaves her husband, daughter and a half-renovated house and ends up as a witness to the absurd proceedings in a remote off-season hotel. In Christoph Hochhäusler’s tense contemporary re-telling of the Hänsel and Gretel story, This Very Moment, two children are left to wander the lonely region near the German-Polish border when their irritated step mother throws them out of the car. In Hochhäusler’s similarly un-nerving second feature, Low Profile, a new school leaver starts anonymously claiming responsibility for local disasters to escape from the frustration of failed job interviews. Henner Winckler’s equally perceptive study of adolescense, School Trip, accompanies a class of secondary school students to a Polish seaside town where competition between one of the students and a young Polish guy lead to disaster.

The season also includes two filmmakers who don’t consider themselves part of the Berlin School, but whose latest films certainly reveal an interest in similar themes. Though stylistically different, Matthias Lutthardt’s Pingpong and Stefan Krohmer’s Summer 04 both focus on middle class families whose seemingly ordered lives are thrown off balance by the intrusion of unexpected visitors and the sexual tension between teenagers and adults.

About the Season

Among the seventeen films on the line-up, there will be UK premieres for Bungalow, Low Profile and Marseille, and a special preview of Longing, ahead of its UK-wide release through the bfi on 18 May. Among the filmmakers travelling to London to support their films will be Christoph Hochhäusler, on hand for an intro and Q&A to the double bill of his films This Very Moment and Low Profile on 1 May; Christian Petzold, to introduce his film Wolfburg on 8 May, and for a Q&A following the London premiere of his feature Ghosts on 9 May; and Benjamin Heisenberg, supporting his film Sleeper on 8 May.

Acknowledging the debt of German filmmakers to French cinema, a talk by the German film critic Ekkerhand Knörer entitled ‘Elective Affinities: The Presence of France and French Film in Recent German Cinema’ will introduce the season on 30 April, together with a Revolver-Live! event focusing on ‘The Politics of Contemporary German Cinema’ organised in collaboration with the German film magazine Revolver.

Goethe Inst. +

Lumière +

Event: Mosaïques festival, London

The Institut français’ yearly 'celebration of cultural diversity', Mosaïques, is back for its 9th edition, and the programme also includes cinema, so a good chance to catch up on world cinema. Venues include the Ritzy Cinema (11–17 May), the Greenwich Picturehouse (16 & 20 May), the V&A (26/27 May & 2/3 June) and the British Museum (22 June).

This year’s line-up includes some UK premieres. There’s new work by Tony Gatlif (Transylvania), Singapore’s Royston Tan (4:30) and Mahamat-Saleh Haroun, who will join audiences for a screening of his first film Bye Bye Africa and for previews of his latest feature, Daratt (Dry Season). From Egypt, two modern portraits of the capital – These Girls and The Yacoubian Building – will screen with Youssef Chachine’s 1957 classic Cairo Station. And from Algeria, director Rabah Ameur-Zaïmeche will join us for screenings of his dyptic Wesh Wesh, What’s Up? and Bled Number One, shown here in conjunction with recent video work by artist Zineb Sedira, part of a large strand of films examining what it means to be Algerian today. Screening as a counterpoint to these contemporary films will be the 1965 classic The Battle of Algiers followed by a Q&A with Saadi Yacef, a veteran of the battle, producer and actor in the film and author of the book on which the film is based. Other names attending include actor Birol Ünel (star of 2004’s Head On) for the preview screening of Transylvania, Kazakh director Rustam Khamdamov (Vocal Parallels), and from Argentina, Alexis Dos Santos, director of the coming-of-age tale Glue.


Institut Francais

Reading tip

"The result is an utterly charming comedy of sexual manners that should do very well wherever audiences appreciate savvy dialogue and smart, observational filmmaking."

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David Lynch Paris show

An article about David Lynch's show, The Deformation Man: David Lynch's Chimerical Universe of Metamorphosis, at the Fondation Cartier pour l'art contemporain to 27 May.

Trailer: Tell No One

I'm not really the biggest fan of police chases, but I have to admit to having enjoyed quite a lot this manhunt shown in the trailer of the upcoming French film Tell No One, based on the thriller by by Harlan Coben. The film is a due for a 15 June UK release.

Tell No One trailer +

Tell No One French site +

Cannes announces line-up for this year's festival

The line-up for the 2007 edition of the Cannes Film Festival was announced yesterday. "My Blueberry Nights" starring singer Norah Jones -- the first English language film from Wong Kar-Wai -- will open the 60th Cannes Film Festival. The singer stars in the story of a young woman who travels across America to find answers to her questions about the true meaning of love. The festival takes place between 16 and 27 May and it will include the world premiere of Michael Moore's latest crockie, "Sicko."

Full list:

In Competition

"My Blueberry Nights," directed by Wong Kar-Wai
"Auf Der Anderen Siete," directed by Fatih Akin
"Un Veille Maitresse," directed by Catherine Breillat
"No Country For Old Men," directed by Joel & Ethan Coen
"Zodiac," directed by David Fincher
"We Own The Night," directed by James Gray
"Les Chansons D'Amour," directed by Christophe Honore
"Mogari No Mori," directed by Naomi Kawase
"Breath," directed by Kim Ki Duk
"Promise Me This," directed by Emir Kusturica
"Secret Sunshine," directed by Lee Chang-dong
"4 Luni, 3 Saptamini Si 2 Zile," directed by Christian Mungiu
"Tehilim," directed by Raphael Nadjari
"Stellet Licht," directed by Carlos Reygadas
"Persepolis," directed by Marjane Satrapi and Vincent Paronnaud
"Le Scaphandre et le Papillon," directed by Julian Schnabel
"Import Export," directed by Ulrich Seidl
"Alexandra," directed by Alexandre Sokourov
"Death Proof," directed by Quentin Tarantino
"The Man From London," directed by Bela Tarr
"Paranoid Park," directed by Gus Van Sant
"Izgnanie" (The Banishment), directed by Andrey Zvyagintsev

British director Stephen Frears will serve as the president of the Cannes competition jury and will be joined by actress Maggie Cheung from Hong Kong, actress Toni Collette from Australia, director and actress Maria de Medeiros from Portugal, director and actress Sarah Polley from Canada, director Marco Bellocchio from Italy, writer Orhan Pamuk from Turkey, director and actor Michel Piccoli from France, and director Abderramane Sissako from Mauritania.

Out of Competition

"Sicko," directed by Michael Moore
"Ocean's Thirteen," directed by Steven Soderbergh
"A Mighty Heart," directed by Michael Winterbottom

Midnight Screenings

"Boarding Gate," directed Olivier Assayas
"Go Go Tales," directed by Abel Ferrara
"U2 3D," directed by Catherine Owens and Mark Pellington

Special Screenings

"11th Hour," directed by Leila Conners Petersen and Nadia Conners
"The War," directed by Lynn Novick and Ken Burns
"Retour en Normandie," directed by Nicolas Philibert
"He Fengming," directed by Wang Bing

Un Certain Regard

"Le Reve de la Nuit d'Avant," directed by Valeria Bruni-Tedeschi
"Calle Santa Fe," directed by Carmen Castillo (first film)
"Munyurangabo," directed by Chung Lee Isaac (first film)
"Et Toi T'Es Sur Qui?" directed by Lola Doillon (first film)
"El Bano del Papa," directed by Enrique Fernandes and Cesar Charlone (first film)
"Bikur Hatizmoret," directedd by Eran Kolirin (first film)
"Mister Lonely," directed by Harmony Korine
"Magnus," directed by Kadri Kousaar (first film)
"Mang Shan," directed by Li Yang
"Mio Fratello E Figlio Unico," directed by Daniele Luchetti
"California Dreamin' (Nesfarsit)," directed by Christian Nemescu (first film)
"La Soledad," directed by Jaime Rosales
"L'Avocat de la Terreur," directed by Barbet Schroeder
"Les Pieuvres," directed by Celine Sciamma (first film)
"Am Ende Kommen Touristen," directed by Robert Thalheim
"Kuaile Gongchang," directed by Ekachai Uekrongtham

The Un Certain Regard jury includes head Pascale Ferran, along with Jasmine Trinca, Cristi Puiu, Kent Jones and Bian Qin and the Camera d'or jury for a film by a first time director will be headed by Pavel Longuine along with Julie Bertucelli, Clotilde Courau and Renato Berta.

Short Films in Competition

"Run," directed by Mark Alston (New Zealand)
"The Oate's Valor," directed by Tim Thaddeus Cahill (United States)
"The Last 15," directed by Antonio Campos (United States)
"Ah Ma" (Grandma), directed by Anthony Chen (Singapore)
"Resistance Aux Tremblements," directed by Olivier Hems (France)
"Ark," directed by Grzegorz Jonkajtys (Poland)
"Ver Llover," directed by Elisa Miller (Mexico)
"To Onoma Tou Spourgitiou," directed by Kyros Papavassiliou (Cypress)
"Spegelbarn" (Looking Glass), directed by Erik Rosenlund (Sweden)
"Het Zusje" (My Sister), directed by Marco Van Geffen (The Netherlands)
"My Dear Rosseta," directed by Yang Hae-hoon (South Korea)

La Cinefondation

"Aditi Singh," directed by Mickael Kummer (Le Fresnoy, France)
"Ahora Todos Parecen Contentos," directed by Gonzalo Tobal (Universidad del Cine, Argentina)
"Your Younger Daughter Rachel," directed by Efrat Corem (Sapir Academic College, Israel)
"Chinese Whispers," directed by Raka Dutta (Satyajit Ray Film & Television Institute, India)
"For the Love of God," directed by Joseph Tucker (NFTS, U.K.)
"Goyta," directed by Joanna Jurewicz (NYU, U.S.)
"Hable Stunden," directed by Nicolas Wackerbarth (DFFB, Germany)
"Minus," directed by Pavle Vuckovic (Fakultet Dramskih Umetnosti, Serbia)
"Pathways," directed by Hagar Ben-Asher (Minshar School, Israel)
"Imprudence," directed by Alexander Kugel (VGIK, Russia)
"A Reunion," directed by Hong Sung-hoon (KAFA, South Korea)
"Rondo," directed by Marja Mikkonen (Finnish Academy of Fine Arts, Finland)
"Way Out," directed by Chen Tao (Beijing Film Academy, China)
"Saba," directed by Therezaa Menezes and Gregorio Graziosi (FAAP University, Brazil)
"Triple 8 Palace," directed by Alexander Ku (NYU, U.S.)
"Vita Di Giacomo," directed by Luca Governatori (La femis, France)

Alternative Distribution" - Miami Film Festival

Here's a link to a 45-minute condensed video version of the hour and a half panel discussion on alternative distribution held at the Miami Film Festival last month.

Watch +

Pitching film projects

Tomorrow (Thursday 19/4) evening there will be a course given by indepedent producer Rebecca Knapp, on how to pitch a film project. The course takes place between 6 and 9pm at SOAS, Kings Cross, London. Click here for further information.

Hibernator: prince of the petrified forest - final screening 29/4

This sounds like an interesting experiment.

Working with the legacy and personal myth of Walt Disney, cryogenically frozen at the point of death, London Fieldworks proposed his reincarnation and have created the animatronic Hexer, to stand in for his alter-ego and to star in their film prince of the petrified forest.

In the Upper Space at Beaconsfield a green-screen environment provides an installation and working animation studio for London Fieldworks. There sits the animatronic sculpture, a monstrous hybrid of Disney and his iconic characters, Bambi and Thumper. The chimera is called to perform for camera, the power of his actions modulated by light cues reported from the window on the back wall of the gallery.

The animation in progress draws inspiration from Felix Salten's anthropomorphic novel Bambi: A Life in the Woods, first published in 1928 and the source for Walt Disney's iconic 1942 animated feature film Bambi. But realised through the combined expertise of specialists in prosthetics and robotics, Hexer is a creature of his time and the landscapes he encounters are far from Disney's idealised forest.

Over the exhibition period of twenty eight days, Hexer's activity is digitally recorded by the artists and incorporated into their film, the process exposed to the public. The final day of the exhibition will culminate in the premiere of the completed film, and Hexer will return to slumber.

Closing Event: Final Film Screening
Date: Sunday 29 April
Time: 2pm

Full Screening followed by panel discussion with collaborators Steve Beard, Paul and Laura Carey, Bruce Gilchrist and Jo Joelson

Free entry but booking advisable. Call Beaconsfield on 020 7582 6465.


Beaconsfield Gallery +

London Fieldworks +

Life on the Other Side of the Wall

Before its well deserved success at the European Film Awards and the Oscars, Florian Henckel von Donnersmarck's The Lives of Others (Das Leben der Anderen) was the final film of the competition program at the 36th Molodist Kiev Film Festival last year. It may well have taken the winning prize were it not for the fact that there was the expected strong competition – with films such as Euphoria (Eyforiya), Fresh Air (Friss levego), and 12:08 East of Bucharest (A fost sau n-a fost) – but also in that it was the final screening and finished just half an hour before a decision was required. As a result it won neither of the two main prizes but in light of this The Lives of Others deserves special acclaim. Subsequent awards have deservedly brought it to the attention of the world cinema-going public ahead of its release this week in the UK and review in Kamera. See alternate review here

Cambridge festival goes alfresco

Cambridge Film Festival, in association with The National Trust and Screen East, is presenting a programme of screenings in settings across the Eastern region of England. The season begins in April at Wimpole Hall in Cambridgeshire with a chance to see The Queen on Friday 27 April and a new print of David Lean’s classic Great Expectations on Saturday 28 April.

Cambridge screenings

Clip: The Glamorous Life of Sachiko Hanai

"A riotous amalgam of political satire, apocalyptic comedy and steamy erotica, The Glamorous Life of Sachiko Hanai is an insanely entertaining example of the Japanese pink film (pinku eiga) genre, a popular form of erotic softcore cinema. Titillation is, of course, a primary goal, but due to Japan's censorship codes (no depiction of genitalia or penetration is allowed), creative storytelling is also important. When both factors are present, as in this memorably nutty offering, the result is particularly pleasurable. Sachiko Hanai (Emi Kuroda) is an escort who specializes in teacher-student scenarios (the film's delightfully apposite original title is Horny Home Tutor: Teacher's Love Juice). One day, after an energetic tutoring session, Sachiko adjourns to a nearby café. An argument between two men escalates, and she is shot between the eyes. Miraculously only dazed, she grabs a mysterious cylinder from the café floor, thus making off with a clone of George W. Bush's finger. And then things get really weird. Sachiko discovers odd psychic abilities and begins imagining various theories of the universe and multivalent philosophical speculations, all to the throb of techno. While she pursues arcane poststrucuturalist knowledge—and has intellectual intercourse with a political philosopher—a consortium of bad guys chase her in the hopes of recovering the cylinder. Raunchy and hilarious in equal measures, with a dash of smart political commentary, Mitsuru Meike's memorable feature will undoubtedly tickle you pink."

(From the notes of the San Francisco International Film Festival 2006 by Rod Armstrong)

New on Kamera: reviews of new releases

Colin Odell and Michelle Le Blanc have penned reviews of two of this week's UK theatrical releases. Our regular contributing duo have showered with praise The Lives of Others and The Curse of the Golden Flower.

300

..."like Baz Luhrmann’s Moulin Rouge, it’s post-cinema, and not created for the purpose of traditional entertainment, let alone edification. It’s onslaught filmmaking, the new form that’s self-defeating in its cacophony and nearly religious in its zealotry for its own form and mythos."

Read more +

YouTube tip: Fassinder's second short film, Das Kleine Chaos

Via Expanded Cinema: "Rainer Werner Fassbinder's second 16mm short--made while still a theatre director in Munich---shows the young filmmaker clearly under the influence of the French nouvelle vague [complete with a poster of Juliette Greco], yet already hinting at the recurring themes of his mature work. Theo (played by Christoph Roser, who financed the film in return for a staring role), Marite (Marite Greiselis), and Franz (played by Fassbinder) turn their love of American noir into a crime spree, even if one reflecting on the moral nature of violence and crime, and in typically Fassbinder fashion, the chaos of postwar culture [after breaking into a woman's house to rob her and putting a Wagner record on the phonograph, Fassbinder's character asks his hostage: "Do you love the Fuhrer?"]. Fassbinder himself appears under his frequent character alias of 'Franz'---inspired by his love of Alfred Doblin's novel 'Berlin Alexanderplatz.'

Sci-Fi London opens bookings

Our friends from the Sci-Fi London have written to say booking for the sixth edition of the festival is now available online (see link below). The festival takes place between 2 and 6 May at the Apollo West End in London.

Sci-Fi London +

Berlin Alexanderplatz on a loop

Those lucky enough to be holidaying in Berlin should pay a visit to the KW Institute for Contemporary Art at the famous Auguststraße 69 to see the exhibition of Rainer Werner Fassbinder's Berlin Alexanderplatz, the monumental film he made for television and based on Alfred Döblin’s 1929 novel. The film consists of thirteen episodes and an epilogue, and runs to fifteen hours and thirty-nine minutes. When it was first screened in Germany in 1980, it triggered heated debates and gained international recognition as one of the film masterpieces of the past decades. The show is a follow-up to the screening at the last Berlinale.

The episodes and the epilogue of Berlin Alexanderplatz will be screened in permanent loop in fourteen separate rooms. In addition, all the episodes are shown in chronological order and full length on a central big screen. Visitors can thus decide how they approach Berlin Alexanderplatz: they can divide its unusual length up into pieces, watch episodes several times, or return to the exhibition whenever they like, as the entrance ticket entitles holders to repeated visits. The exhibition also presents stills from the film’s 224 scenes. A further, highly personal document are the tapes on which Fassbinder himself recorded his script for the film and which have never previously been made accessible to the public.

The exhibition is accompanied by a catalogue (in German; English edition planned; approx. 600 pages), edited by Klaus Biesenbach, with essays by Susan Sontag and Rainer Werner Fassbinder. The show runs until 13 May 13.

KW +

Jan Nemec and the Party Poopers

It's taken 41 years but Jan Nemec's landmark Czech New Wave film The Party and the Guests (O slavnosti a hostech) has finally got a DVD release courtesy of Second Run DVD.


Extremely controversial upon its release, Jan Němec's second feature, after Diamonds of the Night, was completed in 1966 and had a belated release during the short-lived Prague Spring in early 1968. The Party and the Guests was formally "banned forever" in 1973 and this ban remained (at least in Czechoslovakia) until the Velvet Revolution of 1989. It was widely considered at the time that the film was a direct attack on the Communist government and therefore too dangerous to screen. This opinion (or fear) was one that was shared by Antonín Novotný, the Czechoslovak President at the time.

However, this ban was only to enhance Nemec's (now legendary) status as a maverick and enfant terrible in a generation of Czechoslovak directors who were all making films that were on the periphery between acceptable or in breach of the Communist Party line. After living and working in exile from the end of the 1960's, Jan Nemec was to return to his homeland after the Velvet Revolution.

Click here for more on Jan Nemec and Czechoslovak New Wave Directors.

Saint Etienne at the South Bank Centre

In association with Agnès B, Saint Etienne present tomorrow an evening called Paris in the Spring, whose flyer alone makes the visit to the often un-spring-y South Bank worthwhile.




South Bank +

Call for papers

Film & History, the Historians Film Committee's journal of interdisciplinary analysis of film, is accepting submissions on the topic, 'The Documentary Tradition'.

"The first volume will focus on a spectrum of documentaries in chronological order ­of both international and US vintage. Classic documentaries will be examined and placed in their cultural contexts. Papers on films from Nanook and March of Time to The War Room and An Inconvenient Truth are welcomed", said the editor Dr. Loren PQ Baybrook.

She added: "The second volume will examine a variety of topics and issues for documentaries across cultures and borders. The possibilities here are broad, but we welcome papers that stress the role of the documentary in interpreting, reflecting, or attempting to change history. Race, class, policy, and the impact of media are likely topics."


Further info +

Curzon launches magazine

Curzon cinemas has launched a bimonthly magazine and issue one is available for free from Chelsea, Renoir, Richmond, Mayfair or Soho. The issue puts the focus on the German film The Lives of Others, soon to be reviewed on Kamera. You can listen to a podcast featuring an interview with the film's director, Florian Henckel von Donnersmarck +