Director of Photography
13-year-old Jonja goes on vacation with the wealthy family of her best friend Paul. None of this would be a problem if the girl had told her mother about it - but she hasn't. Meanwhile, the days at the lake turn out to be extremely idyllic: Jonja falls in love with a girl and her friendship with Paul is strengthened even further. When it becomes clear that Jonja has lied, emotions run high...
Director of Photography
In the Brandenburg province Markus Hawemann is torn between his love for his grandmothers in need of care - one of them suffering from dementia - and his longing for urban self- determination in Berlin. Most of the time Markus is pretty alone with his worries. In his daydreams a crowd of dazzling demons are visiting him more and more often. They are harbingers of an urban elective family. When Duc enters his life, things become more complicated, as packed boxes in his apartment are already waiting for move to the big city.
Cinematography
The film deals with the manipulation of history in the context of the reconstruction of the Berlin City Palace. Reenactments of iconic political and cultural events on the original balcony raise questions about authenticity and manipulation.
Director of Photography
A 36-year-old lesbian from London navigates Berlin's treacherous alternative scene.
Cinematography
1000 Smiles Per Hour. 1000 Smiles on a stage in front of an audience that uses you as a mirror, as a chance to look at themselves, into themselves. Into their deepest desires and fears. Into their humanity. But what about yourself? Who are you? You walk the streets towards a destination we do not know. You meet a woman whose relationship to you is unclear. You remain a ghost, who needs to wash off make-up, a mask, a second personality which you squeeze yourself into for a couple of hours every day. You're the one who smiles for us, who shows us who we are and who disappears in the shadow of ourselves.
Director of Photography
OILFIELDS MINES HURRICANES is a road-movie, in which the classical concept of that genre - the quest for and the fixation of the own identity - is lead ad absurdum: Salpa, the traveler, experiences a corrosion of his all-along-multiple identity. This is already founded within the production: 18 authors have taken turns writing the screenplay. The amount and sequence of the scenes correlate with John Cage's organ piece As Slow As Possible. The performance venue of that piece, Halberstadt, is the apparent destination of Salpa's journey. But, arrived, no redemption is waiting...
