Producer
Mark, director de cine, envía una carta filmada desde Berlín a Sandra, una pintora que vive en París. En esta película, Mark habla de su encuentro con Sandra. Detrás de la lente de la cámara muestra sus viajes a Roma juntos y su viaje a Berlín, ambos en busca de sus orígenes judíos.
Editorial Staff
On the run from her criminal Italian husband, a young French woman meets a German lover in West Berlin who offers her shelter but who also gets entangled in her threatened life ever deeper.
Himself
A exploration of the origin, theory, philosophy and themes of Stephen Dwoskin's films from 1963 to 1984.
Executive Producer
Through the experiences of two women in Paris and London, Ghost Dance offers an analysis of the complexity of our conceptions of ghosts, memory and the past. The film focuses on the French philosopher Jacques Derrida, who observes, 'I think cinema, when it's not boring, is the art of letting ghosts come back.' He also says that 'memory is the past that has never had the form of the present.'
Producer
A portrait of a family in Berlin in the late 1970's, this film focuses on the mother.
Editor
A German TV movie
Commissioning Editor
A portrait of a woman’s life between 1915 and 1975. In Jutta Brückner’s documentary, her mother looks back at the 60 years of her life, talking about her father’s early accidental death, the constraints faced by a lower middle-class family of five, her training as a seamstress, marriage to a bookkeeper committed to social democratic ideals, the privations of war, and not least of all, her later realisation that fear may have caused her to miss opportunities … An ingenious collage of picture and sound accompanies the mother’s narrative, a tapestry of proverbs, pop songs, marching music, and the noise of war. Hundreds of photographs – most selected from August Sander’s (1876–1964) project “People of the 20th Century”, alongside newer photos by Abisag Tüllmann, among others – lend the individual vita of the director’s mother a kind of ontological validity. Images of labourers and office workers, excursions and marches, imbue what we hear with references that transcend the personal.
Screenplay
