Tamara Trampe

Tamara Trampe

Рождение : 1942-12-04, Voronezh, Russia

Смерть : 2021-11-04

Профиль

Tamara Trampe

Фильмы

The Hamlet Syndrome
Dramaturgy
A film that depicts the young Ukrainian generation scarred by war and political breakthroughs. The film's starting point is the preparation for a play based on the motifs of Shakespeare's Hamlet, which, combined with an intense glimpse into the lives of the characters, creates a powerful portrait of a generation having to confront their war trauma and tackle the painful past, which now after the Russia's invasion of Ukraine becomes their present and future alike.
My Mother, a War and Me
Writer
1942, and a spectacular wartime birth in the depths of winter: a young russian nurse unexpectedly goes into labour and, all alone and in freezing temperatures, gives birth to her daughter Tamara in a field on the banks of the Volga. The most personal film to date from co-directors Tamara Trampe and Johann Feindt is dedicated to Tamara's own family history. The search for her unknown father who, as a russian officer, made the young nurse pregnant, is complicated by the fact that her mother has never come to terms with her wartime trauma and worn family photos only seem to show happy-go-lucky life before the war. But the director won't give up so easily and, through a mixture of personal childhood recollections and conversations with relatives and former nurses who were on the front in Ukraine, she puts together the pieces of the puzzle.
My Mother, a War and Me
Director
1942, and a spectacular wartime birth in the depths of winter: a young russian nurse unexpectedly goes into labour and, all alone and in freezing temperatures, gives birth to her daughter Tamara in a field on the banks of the Volga. The most personal film to date from co-directors Tamara Trampe and Johann Feindt is dedicated to Tamara's own family history. The search for her unknown father who, as a russian officer, made the young nurse pregnant, is complicated by the fact that her mother has never come to terms with her wartime trauma and worn family photos only seem to show happy-go-lucky life before the war. But the director won't give up so easily and, through a mixture of personal childhood recollections and conversations with relatives and former nurses who were on the front in Ukraine, she puts together the pieces of the puzzle.
Lullaby
Writer
Lullabies are our first connection to the world – a universal experience we all share, yet it remains deeply personal. "Can you recall a song that your mother would sing for you to fall asleep?" is the question Tamara Trampe and Johann Feindt ask people they meet in the streets of Berlin.
Lullaby
Director
Lullabies are our first connection to the world – a universal experience we all share, yet it remains deeply personal. "Can you recall a song that your mother would sing for you to fall asleep?" is the question Tamara Trampe and Johann Feindt ask people they meet in the streets of Berlin.
24 Hours Berlin
Director
Weiße Raben – Alptraum Tschetschenien
Writer
Documentary about the war in Chechnya.
Weiße Raben – Alptraum Tschetschenien
Director
Documentary about the war in Chechnya.
Der schwarze Kasten
Der schwarze Kasten
Writer
Der schwarze Kasten
Director
Once I Was a Child
Writer
The interviews conducted by Tamara Trampe in a Pankow kindergarten testify to a rare attempt to enter the world of the young interviewees completely, to give their stories a space where reality and fantasy, worries and wishes can mix freely. A space that’s not always provided in the daily life of the kindergarten, as the film casually suggests even after it was toned down by the DEFA censors: toilets without doors, ghastly birthday parties and friendly but unmistakable reprimands when the children let too much dialect slip into the grammar exercise or when their pictures of soldiers are not realistic enough.
Once I Was a Child
Director
The interviews conducted by Tamara Trampe in a Pankow kindergarten testify to a rare attempt to enter the world of the young interviewees completely, to give their stories a space where reality and fantasy, worries and wishes can mix freely. A space that’s not always provided in the daily life of the kindergarten, as the film casually suggests even after it was toned down by the DEFA censors: toilets without doors, ghastly birthday parties and friendly but unmistakable reprimands when the children let too much dialect slip into the grammar exercise or when their pictures of soldiers are not realistic enough.