Editor
En DIARIO DE UNA ABEJA seguimos el viaje aventurero de una sola abeja desde su nacimiento (o eclosión) hasta la fundación de una nueva colonia. Tres años de filmación con la última tecnología de cámara macro y un procesamiento posterior especial permiten un lenguaje visual único que permite una visión completamente nueva del mundo de las abejas, sin volverse acientífico. Esta historia es contada por Anna Thalbach como la "abeja de invierno" y su hija Nellie Thalbach, que asume el papel de "abeja de verano". ¡Bienvenido al gran drama de los pequeños recolectores de polen!
Writer
The filmmakers first meet Stefan in 2015, in the therapy ward of Brandenburg Prison. Their first impression is of a polite, shy man. A warder tells them Stefan is an ice-cold woman-killer. The filmmakers follow him through the last years of his prison term. They face some uncomfortable questions. Can anyone really know what is going on inside this man? The part of the protagonist is taken by a puppet, the scenes shift into theatre. Truth and falsehood blend in a cascade of presumption.
Director
The filmmakers first meet Stefan in 2015, in the therapy ward of Brandenburg Prison. Their first impression is of a polite, shy man. A warder tells them Stefan is an ice-cold woman-killer. The filmmakers follow him through the last years of his prison term. They face some uncomfortable questions. Can anyone really know what is going on inside this man? The part of the protagonist is taken by a puppet, the scenes shift into theatre. Truth and falsehood blend in a cascade of presumption.
Director
Producer
THE BLOCK introduces us to four sad figures living in a run-down East German prefab building: Hans-Joachim dreams of his great love. Silvio shoots out the lamps in former Soviet barracks. Olga wants to return to bombed-out Grozny; being alone is worse than war. Natalya cleanses her body with nettles and snow. The camera captures them in their cramped one-room apartments in extreme close-up, showing the pores of their skin and dandruff. Even in delicate moments, it does not keep its distance. In this way, we closely experience their precarious situation on the margins of society.
Writer
THE BLOCK introduces us to four sad figures living in a run-down East German prefab building: Hans-Joachim dreams of his great love. Silvio shoots out the lamps in former Soviet barracks. Olga wants to return to bombed-out Grozny; being alone is worse than war. Natalya cleanses her body with nettles and snow. The camera captures them in their cramped one-room apartments in extreme close-up, showing the pores of their skin and dandruff. Even in delicate moments, it does not keep its distance. In this way, we closely experience their precarious situation on the margins of society.
Director
THE BLOCK introduces us to four sad figures living in a run-down East German prefab building: Hans-Joachim dreams of his great love. Silvio shoots out the lamps in former Soviet barracks. Olga wants to return to bombed-out Grozny; being alone is worse than war. Natalya cleanses her body with nettles and snow. The camera captures them in their cramped one-room apartments in extreme close-up, showing the pores of their skin and dandruff. Even in delicate moments, it does not keep its distance. In this way, we closely experience their precarious situation on the margins of society.
Director of Photography
THE BLOCK introduces us to four sad figures living in a run-down East German prefab building: Hans-Joachim dreams of his great love. Silvio shoots out the lamps in former Soviet barracks. Olga wants to return to bombed-out Grozny; being alone is worse than war. Natalya cleanses her body with nettles and snow. The camera captures them in their cramped one-room apartments in extreme close-up, showing the pores of their skin and dandruff. Even in delicate moments, it does not keep its distance. In this way, we closely experience their precarious situation on the margins of society.
