Jutta Brückner

출생 : 1941-06-25, Düsseldorf, Germany

약력

Jutta Brückner is a German film director, screenwriter and film producer. She directed nine films between 1975 and 2005. Furthermore, she has written essays in film theory, film reviews and radio plays. She lives in Berlin and was Professor for narrative film at Berlin University of the Arts.

참여 작품

영화관을 말하다
Jutta Brückner
영화 원제인 ‘Komm mit mir in das Cinema’(영화관으로 가자)는 사랑을 영화 속에서 찾을 수 있다고 썼던 엘제 라스커쉴러의 1937년도 시에서 가져온 것이다. 영화를 둘러싼 여러 담론과 관점에 있어서 전후 독일영화의 역사를 크게 확장시킨 에리카와 울리히 그레고어가 함께할 수 있었던 것은 바로 영화에 대한 사랑 덕분이었다.
Bräute des Nichts. Der weibliche Terror: Magda Goebbels und Ulrike Meinhof
Writer
"Brides of Nothingness: Female Terror." What connects Magda Goebbels with Ulrike Meinhof? - Both women represent a different side of modernity: continuity and fractures of a female mentality story in which the unconscious of history is sedimented. The fanaticism of both women was a publicly lived love story with politics.
Bräute des Nichts. Der weibliche Terror: Magda Goebbels und Ulrike Meinhof
Director
"Brides of Nothingness: Female Terror." What connects Magda Goebbels with Ulrike Meinhof? - Both women represent a different side of modernity: continuity and fractures of a female mentality story in which the unconscious of history is sedimented. The fanaticism of both women was a publicly lived love story with politics.
Hitlerkantate
Writer
Berlin during the Nazi reign: Young music student Ursula is a talented musician and a fervent admirer of the "Führer". When she is asked to assist renowned composer Broch, who was ordered to compose a cantata for Hitler′s 50th birthday, it first seems like a dream fulfilled. Over the time, Broch and Ursula fall in love, and her relationship with the former communist gradually changes Ursula′s perspective on the realities of Nazi Germany. But falling in love with a Nazi means a huge moral conflict for Broch.
Hitlerkantate
Director
Berlin during the Nazi reign: Young music student Ursula is a talented musician and a fervent admirer of the "Führer". When she is asked to assist renowned composer Broch, who was ordered to compose a cantata for Hitler′s 50th birthday, it first seems like a dream fulfilled. Over the time, Broch and Ursula fall in love, and her relationship with the former communist gradually changes Ursula′s perspective on the realities of Nazi Germany. But falling in love with a Nazi means a huge moral conflict for Broch.
Bertolt Brecht - Love, Revolution and Other Dangerous Things
Brecht′s 100th birthday is being celebrated on 10 February, 1998. A good enough opportunity to examine his life closely again. The film director Jutta Brueckner is mainly concerned here with the question of the kind of person Brecht was. We have known him until now as the brilliant author and theatre director, through his plays themselves; we also know him as the cultural flagship of the GDR along with his world-famous Berliner Ensemble.
Bertolt Brecht - Love, Revolution and Other Dangerous Things
Writer
Brecht′s 100th birthday is being celebrated on 10 February, 1998. A good enough opportunity to examine his life closely again. The film director Jutta Brueckner is mainly concerned here with the question of the kind of person Brecht was. We have known him until now as the brilliant author and theatre director, through his plays themselves; we also know him as the cultural flagship of the GDR along with his world-famous Berliner Ensemble.
Bertolt Brecht - Love, Revolution and Other Dangerous Things
Director
Brecht′s 100th birthday is being celebrated on 10 February, 1998. A good enough opportunity to examine his life closely again. The film director Jutta Brueckner is mainly concerned here with the question of the kind of person Brecht was. We have known him until now as the brilliant author and theatre director, through his plays themselves; we also know him as the cultural flagship of the GDR along with his world-famous Berliner Ensemble.
Ein Blick und die Liebe bricht aus
Editor
Ein Blick und die Liebe bricht aus
Writer
Ein Blick und die Liebe bricht aus
Director
Kolossale Liebe
Editor
Berlin 1808. A young, immature student who considers himself a poet, August Varnhagen, enters the famous salon of Rahel Levin, one of the first assimilated Jewish women of the Romantic period. He has heard of this woman who was praised by all for her wit and wisdom and he comes because he seeks connection and relations and in this salon the most famous men of the time crowded.
Kolossale Liebe
Producer
Berlin 1808. A young, immature student who considers himself a poet, August Varnhagen, enters the famous salon of Rahel Levin, one of the first assimilated Jewish women of the Romantic period. He has heard of this woman who was praised by all for her wit and wisdom and he comes because he seeks connection and relations and in this salon the most famous men of the time crowded.
Kolossale Liebe
Writer
Berlin 1808. A young, immature student who considers himself a poet, August Varnhagen, enters the famous salon of Rahel Levin, one of the first assimilated Jewish women of the Romantic period. He has heard of this woman who was praised by all for her wit and wisdom and he comes because he seeks connection and relations and in this salon the most famous men of the time crowded.
Kolossale Liebe
Director
Berlin 1808. A young, immature student who considers himself a poet, August Varnhagen, enters the famous salon of Rahel Levin, one of the first assimilated Jewish women of the Romantic period. He has heard of this woman who was praised by all for her wit and wisdom and he comes because he seeks connection and relations and in this salon the most famous men of the time crowded.
Die Erbtöchter
Director
A TV movie in episodes by a group of female filmmakers.
The Hunger Years: In a Land of Plenty
Writer
Hungerjahre is a movie about adolescence in 1950s West Germany, in which director and scriptwriter Jutta Brückner comes to terms with her own memories.
The Hunger Years: In a Land of Plenty
Director
Hungerjahre is a movie about adolescence in 1950s West Germany, in which director and scriptwriter Jutta Brückner comes to terms with her own memories.
Ein ganz und gar verwahrlostes Mädchen
Writer
It's a perfectly ordinary day in Rita's life: early in the morning her lover from last night left the apartment, and Rita doesn't dare to go back to work after she stole money in the telephone cabin the day before.
Ein ganz und gar verwahrlostes Mädchen
Director
It's a perfectly ordinary day in Rita's life: early in the morning her lover from last night left the apartment, and Rita doesn't dare to go back to work after she stole money in the telephone cabin the day before.
Coup de Grâce
Writer
A countess loves her brother's Prussian-officer friend in the 1919 Baltic area.
Do Right and Fear No One
Writer
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.
Do Right and Fear No One
Director
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.