Teddy 2015

Artwork by Rinaldo Hopf

Der Queere Filmpreis der Berlinale

PROGRAMME GUIDE All queer ďŹ lms at the 65th Berlin International Film Festival

5th -15th of February 2015 www.teddyaward.tv

© Marc Ohrem-Leclef

message from

Dieter Kosslick Director of the Berlin International Film Festival Direktor der Internationalen Filmfestspiele Berlin

Rubble Men, Daughters of Freedom

Trümmermänner, Freiheitstöchter

In May of 1945, the 2nd World War ended in a mound of rubble. That is exactly when Rainer Werner Fassbinder was born. And he is alive: Whether surrounded by his “queer family”on the TEDDY poster – or at the 29th TEDDY AWARD, a truly worthy occasion for celebrating the 70 th birthday of a filmmaker who continues to inspire artists all over the world. We encounter RWF in the Panorama section at the 65th Berlinale, in Christian Braad Thomsen’s fantastic documentary “Fassbinder - To Love Without Demands”. Incidentally, it was at the Berlinale that Thomsen and Fassbinder first met in 1969. And in 1982, RWF won the Silver Bear for “Veronika Voss”.

Im Mai 1945 endete der II. Weltkrieg in einem Trümmerhaufen. Mitten in dieser Zeit wurde Rainer Werner Fassbinder geboren. Und er lebt: ob auf dem TEDDY-Plakat inmitten seiner „queer family“ oder beim 29. TEDDY AWARD, ein wahrlich würdiger Auftakt, um den 70. Geburtstag eines Filmemachers zu feiern, der bis heute Künstler/innen in aller Welt inspiriert. Auch im Panorama der 65. Berlinale treffen wir RWF in Christian Braad Thomsens großartigem Dokumentarfilm „Fassbinder – lieben ohne zu fordern“. Thomsen und Fassbinder lernten sich übrigens 1969 auf der Berlinale kennen. Und 1982 erhielt RWF den Silbernen Bären für „Die Sehnsucht der Veronika Voss“.

We also honour Fassbinder veteran Udo Kier (born 1944). Artist, actor and world star, Kier gleefully and totally confounds the fields between low-budget, arthouse, factory, museum and multiplex. A wonderful and inspiring recipient of the SPECIAL TEDDY AWARD.

Auch mit Udo Kier, Jahrgang 1944, feiern wir einen Fassbinder-Akteur, der als Weltstar, Schauspieler und Künstler die Felder zwischen LowBudget, Arthouse, Factory, Museum und Multiplex kräftig und lustvoll durcheinanderwirbelt. Ein wunderbarer und inspirierender Preisträger des SPECIAL TEDDY AWARD!

Because it is so painful to see how fragile our coexistence is in the face of threats to our freedom, I am glad to see courageous and creative people who work passionately for the freedom to be different and to think differently. I am looking forward to seeing many strong women leave their mark on the 2015 programme, and artists of every gender dealing with homophobia in African states. And the artistic freedom of a director’s cut, such as Mark Christopher is enjoying with his reset of “Studio 54”, is a genuine treat! “Art is the daughter of freedom.”

Friedrich Schiller knew it. TEDDY too.

Weil es so schmerzhaft ist zu sehen, wie fragil unser Zusammenleben angesichts der Bedrohungen unserer Freiheiten ist, freue ich mich auf Menschen, die sich mit Mut und Kunst leidenschaftlich für die Freiheit des Andersseins und Andersdenkens einsetzen, auf die vielen starken Frauen, die 2015 das Programm prägen oder die Künstler/innen, die sich mit Homophobie in afrikanischen Staaten beschäftigten. Und die künstlerische Freiheit eines Director‘s Cuts, die Regisseur Mark Christopher mit seinem Reset von „Studio 54“ genießt, ist ein echter Leckerbissen! „Die Kunst ist eine Tochter der Freiheit.“ Friedrich Schiller wusste das. TEDDY auch.

Ihr Dieter Kosslick Direktor der Internationalen Filmfestspiele Berlin

Your Dieter Kosslick Director of the Berlin International Film Festival

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INTRODUCTION Einführung Dieter Kosslick P. 3

GREETINGS

Grußwort Michael Müller P. 5

RAINER WERNER FASSBINDER

“Ich werfe keine Bomben, ich mache Filme.”

P. 6

UDO KIER

Dieses außerirdische Grünblau P. 12

TEDDY AWARD JURY Jury P. 21

FILM PROGRAMME GUIDE Filmübersicht P. 23-46

SCHEDULE & VENUES Programm & Adressen P. 30-32

INTERVIEW WITH...

Interview mit...

Wieland Speck P. 49

IN MEMORY OF...

Nachruf Suzy Capó P. 53

DAVID KATO AWARD David Kato Award P. 55

GALA ARTISTS Galakünstler P. 56-57

THANK YOU / CREDITS Dankeschön / Impressum P. 58

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message from

Michael Müller Governing Mayor of Berlin Regierender Bürgermeister von Berlin Die festliche Gala zur Verleihung der TEDDY AWARDS gehört zu den glanzvollsten Ereignissen im Rahmen der Internationalen Filmfestspiele Berlin. Davon zeugt auch das diesjährige Bühnenprogramm, für das die wunderbare Ingrid Caven, Solistinnen beziehungsweise Solisten und das Orchester der Komischen Oper Berlin sowie viele weitere namhafte Künstlerinnen und Künstler gewonnen werden konnten.

The gala evening for the presentation of the TEDDY AWARDS is one of the most glamorous events held during the Berlin International Film Festival. This year’s line-up for the stage show provides a good indication, featuring the amazing Ingrid Caven, as well as soloists and the orchestra of the Komische Oper Berlin and many other renowned artists.

At the same time, the TEDDY AWARDS Gala is much more than an enjoyable evening. This is where the world’s most prestigious queer film prize is awarded. This award is given to films and artists working in film who explore and highlight queer issues. And, in doing so, they demonstrate their commitment to a society characterized by tolerance, solidarity and mutual respect, in which diversity is understood as something that enriches society. In turn, the TEDDY AWARDS are not simply an important recognition of great lesbian and gay cinema, but also a clear signal against homophobia and in favour of equal rights.

Zugleich ist die TEDDY AWARD Gala jedoch weit mehr als eine stimmungsvolle Veranstaltung. Denn hier wird der bedeutendste queere Filmpreis der Welt verliehen. Und das bedeutet: Diese Auszeichnung geht an Filme und Filmschaffende, die sich mit queeren Themen auseinandersetzen. Und die sich auf diese Weise für eine tolerante, solidarische und von gegenseitigem Respekt getragene Gesellschaft engagieren, in der Vielfalt als Bereicherung begriffen wird. Und so sind die TEDDY AWARDS nicht nur eine wichtige Anerkennung großer schwul-lesbischer Filmkunst, sondern auch ein deutliches Zeichen gegen Homophobie und für gleiche Bürgerrechte.

With this in mind, allow me to welcome you to the 29th TEDDY AWARDS Gala 2015. I wish you many hours of inspiring cinema with the TEDDY films and an entertaining gala event. My congratulations go to all the prize winners and in particular to the amazing Udo Kier, who is being given the SPECIAL TEDDY AWARD for his lifetime artistic achievement.

In diesem Sinne: Herzlich willkommen zur bereits 29. TEDDY AWARD Gala 2015. Ich wünsche anregende Stunden im Kino mit den TEDDY Filmen sowie eine unterhaltsame Gala-Veranstaltung. Meine Gratulation gilt den Preisträgerinnen beziehungsweise Preisträgern – und hier insbesondere dem großartigen Udo Kier, der für sein künstlerisches Lebenswerk den SPECIAL TEDDY AWARD erhält.

In addition, I would like to thank the numerous individuals, many of whom are long- term supporters, who assist and encourage the TEDDY AWARD: the organising team, the donors and sponsors, all the volunteer helpers and this year’s jury.

Zudem danke ich jenen vielen Menschen, die den TEDDY AWARD oft schon seit Jahren unterstützen und begleiten: dem Veranstaltungsteam, den Spendern und Sponsoren, allen ehrenamtlichen Helferinnen und Helfern sowie der diesjährigen Jury.

Michael Müller Regierender Bürgermeister von Berlin

Michael Müller Governing Mayor of Berlin

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© LIEBEN OHNE ZU FORDERN - DK 2015 © Christian Braad

Rainer Werner Fassbinder „Ich werfe keine Bomben, ich mache Filme.“ von Egbert Hörmann

Die Elemente, die Fassbinders Kinofilme so spezifisch machen (seine Arbeit für das Fernsehen muss anders betrachtet werden), sind die Stilmittel des Genrekinos, beispielsweise der Film Noir, der Gangsterfilm und natürlich das Melodram mit seinen inneren Widersprüchen, dessen Herz die Erfahrung des Verlustes ist, der Ereignisse, die nicht stattfinden und vor allem des Wortes, das nicht gesagt wird, sowie ein eigenwilliger Marxismus, Freuds Un- und Vor- und Unterbewusstes, die westdeutsche populäre Kultur, der Fluch des deutschen Faschismus, die Verfremdungsästhetik von Brecht und zugleich eine gute Dosis Warhol und Camp-Sensibilität. Wie Werner Schroeter scheute er nie das Pathos, nach Nabokov eines der Grundelemente großer Kunst. Er vereinte all das in einem Stil, der roh, überdreht, monumental, unterkühlt und von äußerster, kompromissloser Künstlichkeit war, wobei bei der „Demaskierung des Bewusstseins“ à la Ödön von Horváth niemals die sozialpolitische Bodenhaftung verloren ging.

Als Rainer Werner Fassbinder, der wohl bedeutendste deutsche Nachkriegsregisseur, 1982 im Alter von nur 37 Jahren an einer „Überdosis Arbeit“ (Fassbinder-Intimus Harry Baer) kometenhaft verglühte, hinterließ er – 41 Filme in nur 13 Jahren! – in der europäischen Filmlandschaft ein bis heute nicht gefülltes Vakuum und ein einzigartiges, vielschichtiges, verstörend-betörendes und wundervoll unergründliches Werk von – bei genauerer Betrachtung – dennoch verblüffender Geradlinigkeit, Konsequenz und Schlüssigkeit.

Die skandalöse Gestalt selbst wirft einen langen Schatten auf die Filme und das vielfältige Schaffen als Theater- und Filmregisseur, Schauspieler, Produzent, Dramatiker und Publizist. Fassbinder wird auch heute noch mit wohligem Schaudern gern beschworen als monströses, molochartiges Genie – mythisch, manisch, Grenzen sprengend, brutal, masochistisch, vulgär und nichts und niemanden schonend (sich selbst schon gar nicht!). Aber man erkennt in ihm auch eine zarte Seele, einen zutiefst scheuen Menschen, einen großen Liebenden mit einem tiefen und unmittelbaren Gefühl für die von ihm dargestellten Charaktere, dessen wissender Weltschmerz schon früh in Hyperaktivität umgeschlagen war.

Fassbinder war mit der ihm eigenen Comédie Humaine ein Autor vom Zuschnitt Balzacs und er hatte von Anfang an eine Vision, die dann zu seiner Mission wurde: Er wollte der Chronist der inneren Geschichte Westdeutschlands werden. Seine politische Realität war eine noch tief im Nazi-Sumpf verstricke Gesellschaft im Aufbau-, Verdrängungs- und Kalter-Krieg-Wahn, die die Chance zu durchgreifender Erneuerung nach 1945 nicht wahrgenommen hatte und bis zum Ende der 1960er Jahre eine streng patriarchalisch-konservative Vasallendemokratie war.

Es ist heute kaum mehr vorstellbar, wie faszinierend neu und verstörend dieser Agent Provocateur in die behäbige deutsche Filmlandschaft einbrach (1969 kam es im Wettbewerb der Berlinale mit dem mit unglaublicher Aggression aufgenommenen ersten Spielfilm „Liebe ist kälter als der Tod“ zum Skandal). Sein Werk verleugnete nie die Herkunft aus der subkulturellen Avantgarde, zugleich war es Fassbinders Ziel, in breit gefächerte kulturelle und gesellschaftspolitische Diskussionen einzubrechen, einzugreifen und sowohl dezidiert politisch-kritisch als auch gleichzeitig so populär wie das von ihm über alles geliebte Hollywoodkino zu sein, etwa das von Douglas Sirk, dessen Mega-Meta-Kitsch sogar bei den Happy Ends von einer pessimistischen, klassischen Größe ist.

„Meine Filme handeln von Abhängigkeiten.“ Sein letztes, monumentales Meister- beziehungsweise Monsterwerk ist „Berlin Alexanderplatz“ (1980), ein Film wahrhaft aus der Menschenfinsternis und wohl wie „Die letzten Tage der Menschheit“ von Karl Kraus hier nun statt eines Marstheaters einem Marskino zugedacht, das noch einmal die zentralen Themen Fassbinders bündelt: Die Bewunderung für unabhängige Frauen, die Faszination von Männerfreundschaften, das Recht auf

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wenn schon nicht zum Betreten, so doch zumindest zum Wiedererkennen, anbietet.“ (Thomas Elsaesser)

Widerstand, das Geld als der Spiritualismus der kapitalistischen Gesellschaft, die (– at the end of the day – immer ruinöse) Liebe als Ware mit dem unerbittlichen Gesetz: Wer liebt, muss zahlen, die Unmöglichkeit, in der bürgerlichen Familie Liebe und Glück zu finden, und immer wieder die Teufelskreise von ökonomischer, emotionaler und sexueller Ausbeutung, wobei dann auch in Liebesbeziehungen die Klassen- und Bildungsunterschiede doch immer durchschlagen.

Dieses einmalige Werk dieses Katalysators scheint heute in den Filmmuseen und den Filmseminaren aufbewahrt zu sein, es ist zugleich aber (wie auch das Werk Pasolinis) bei aller zeitlichen und historischen Datierung immer noch, immer wieder gültig und frisch, weil es zu aktuellen, ästhetischen, kreativen und kritischen Auseinandersetzungen und Reibungen reizt.

Sehr früh behandelte Fassbinder das Thema der Geschlechterdifferenz und der sexuellen Identität, was in dieser lakonischen Selbstverständlichkeit im deutschen Film ein absolutes Novum war.

Von Woolworth-Feministinnen wurde er zuweilen heftig attackiert (das ganze Geschrei um „Die bitteren Tränen der Petra von Kant“!). Aber den Feminismus gibt es ja nun in vielerlei Variationen. Wie auch Kenji Mizoguchi, für den Japans tief verwurzelte und zerstörerischste Krise die Knechtung der Frau war (die Ehe als freie Prostitution mit der Hausarbeit als Zugabe, der Kapitalismus als offizielle Form der Hurerei), war Fassbinder ein „ladies´ man“, ein großer Frauenregisseur, der uns viele wunderbare Darstellerinnen schenkte: Ingrid Caven, Irm Hermann, Brigitte Mira, Margit Carstensen, Barbara Sukowa, Rosel Zech, Elisabeth Trissenar. Und allen voran natürlich die unvergleichliche Hanna Schygulla, Typ entrückte Vorstadtdiva. Fassbinders tiefes Verständnis der Situation der Frau zeigte sich auch in seiner Ansicht, deutsche Geschichte ließe sich am besten anhand von Frauenschicksalen erzählen. Er sah in der kapitalistischen Nachkriegshierarchie die Frauen – übrigens auch in seinem Privatleben eine höchst komplexe Angelegenheit – zwar exemplarisch als soziale Underdogs, aber eben nicht als Opfer.

© LIEBEN OHNE ZU FORDERN - DK 2015 © Christian Braad

„Keiner, dessen Denken im Rahmen einer Ideologie verläuft, die außerhalb seiner selbst existiert, kann meine Filme mögen. Ich mache Filme für Leute, die nicht in vorgestanzten Programmen denken. Die anderen sehen sich meine Filme an, und sie hassen sie, weil sie das kapieren.“ Zu seiner Zeit, als er zwischen 1969 und 1982 Filmgeschichte schrieb, passte Fassbinder in kein Schema. Man packte es einfach nicht: dieser elitäre Paria, dieser exorbitante Lebensstil, diese offen gelebte Homosexualität, diese Produktivität und dieser Verschleiß. Und sie war ja auch schwer zu ertragen, diese Freiheit und diese Radikalität, die sich jedem Appeasement und jedem Konsens verweigerte, diese rückhaltlose künstlerische Selbstentblößung, beispielhaft in der einleitenden, 26-minütigen Episode, die das Klima des ganzen, 1978 bei der Berlinale uraufgeführten Collagenfilms „Deutschland im Herbst“ bestimmt.

Das von deutsch-historischer Last befreite Ausland verlieh dann diesem Ausnahmetalent bald die höheren Weihen. „Die dritte Generation“ von 1979, von der bundesdeutschen Kritik weitgehend abgelehnt, war so etwa für einen amerikanischen Kritiker „the modern successor of Fritz Lang´s ‘Dr. Mabuse’ films“. 1976 die erste Retrospektive in Paris, die erste kritische Studie ebenfalls 1976 aus London und 1977 kommt es zur triumphalen Retro in New York, wo man ihn als „das größte europäische Talent“ feiert. 1977 wechselt Fassbinder mit der internationalen Produktion „Despair“ zum europäischen Autorenkino und 1979 führt schließlich „Die Ehe der Maria Braun“ auch in Deutschland zum durchschlagenden Publikumserfolg.

Rainer Werner Fassbinder HE IS RUNNING AROUND THE WORLD LIKE AN OPEN RAZOR BLADE AND ONE MIGHT GET CUT!

Der Regisseur Fassbinder wurde zum Repräsentanten Deutschlands durch seine ernsthafte Besessenheit einerseits, sicher aber auch durch seine „Schwere“ und „Humorlosigkeit“. Nach Proust sind Klima und Landschaft die beiden Summanden, die den Menschen formen und gestalten (hinzuzufügen wäre noch ein dritter: die Geschichte mit ihrem grausamen, unerbittlichen und blinden Wesen) – in allen Lederbars der Welt zuhause und mit einer Wohnung in Paris ausgestattet, blieb Fassbinder doch immer ein Kind Westdeutschlands und letztendlich Münchens.

“I don’t throw bombs, I make films.”

by Egbert Hörmann

The comet-like existence of Rainer Werner Fassbinder, probably Germany’s most important post-war director with 41 films in only 13 years, burned up in 1982 at the young age of 37, due to an “overdose of work” (in the words of Fassbinder confidante Harry Baer). His death left behind a vacuum in the European film landscape unfilled to this very day and a unique, multi-faceted, unsettlingly beguiling and wonderfully unfathomable body of work which, on closer inspection, possesses nonetheless a remarkable linearity, consistency and coherence.

„Das ,Öffnen der Seeleʻ war ein Teil von Fassbinders fiktionalisierter Persona. Er war und blieb ein Geschichtenerzähler und wahrscheinlich der einzige Filmemacher in Deutschlands langer Filmgeschichte, der eine so weitreichende und einfühlende Vision des Menschen entwarf, umfassend genug, um eine Welt zu zeugen (und deren Zeitzeuge zu sein), die unzweifelhaft die seine ist und die sich gleichzeitig anderen Personen,

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inism has many variants. Just like Kenji Mizoguchi, for whom Japan’s deep-rooted and most destructive crisis was the enslavement of women (regarding marriage as free prostitution, to which housework is added, and capitalism as the official form of prostitution), Fassbinder was a ladies’ man. He was a great director of women, who gave us many wonderful female actors: Ingrid Caven, Irm Hermann, Brigitte Mira, Margit Carstensen, Barbara Sukowa, Rosel Zech and Elisabeth Trissenar. And above all, of course, the incomparable Hanna Schygulla, the dreamy suburban goddess. Fassbinder’s profound understanding for the situation of women is also evident in his view that German history could best be told through the stories of women. Within the context of the capitalist post-war hierarchy, Fassbinder considered women (incidentally, also a highly complex issue in his personal life) an example of social underdogs but not as victims.

The scandalous image of the man himself casts a long shadow over his films and creative activities as theatre and film director, actor, producer, playwright and social commentator. Fassbinder is regularly invoked with a cosy shudder, even today, as a monstrous and gruesome genius – mythical, manic, tearing down barriers, brutal, masochistic, vulgar, sparing nothing and nobody (least of all himself). At the same time, one recognizes in him also a tender soul, an exceptionally shy person, a great lover with a deep and immediate feeling for the characters developed by him, someone whose knowing Weltschmerz quickly transformed into hyperactivity.

Today it is hard to imagine how fascinatingly novel and unsettling the entry was of this agent provocateur on the sedate landscape of German film (the admission of his first feature film, shot with unbelievable aggression, “Love is Colder than Death” in the official competition section of the 1969 Berlin Film Festival provoked a scandal). His work never denied its origins in the subcultural avantgarde. At the same time, Fassbinder sought to break into and intervene in discussions on a broad spectrum of cultural and social questions and made films that were both decidedly political and critical in their approach and, at the same time, as popular as Hollywood cinema, which he loved above all.

A particular inspiration in this regard were the films of Douglas Sirk whose mega-meta kitsch, even in the happy ends, is of a classically pessimistic calibre.

“No-one whose thoughts take place within an ideology which exists outside of the person is capable of liking my films. I make films for people who do not think in pre-packaged programmes. The others watch my films and hate them, because they have understood that.” During his creative period from 1969 to 1982, in which he wrote film history, Fassbinder did not fit any of the existing models. It was impossible to bring it all together: this elitist pariah, this exorbitant lifestyle, this open homosexuality, this productivity and also this attrition. And it was indeed difficult to bear this freedom and this radicalness, which rejected all appeasement and consensus, this wholehearted artistic self-revelation, exemplified in the introductory 26-minute episode that sets the tone for the entire episodic film “Germany in Autumn” premiered at the 1978 Berlin Film Festival.

Many elements make Fassbinder’s cinema films so specific (his work for television must be assessed separately). These include stylistic devices from particular genres such as film noir, gangster films and, of course, melodrama with its internal contradictions, at the core of which is the experience of loss and events that do not take place and, above all, words that are not spoken. Other essential elements are an unconventional Marxism, the Freudian un-, pre- and subconscious, popular culture of West Germany, the curse of German fascism, Brecht’s aesthetics of alienation and also a good helping of Warhol and camp sensibility.

Like Werner Schroeter he never shied away from pathos – according to Nabokov, one of the fundamental elements of great art. He unified all that in a style that was raw, highly charged, monumental, coldly distanced and of extreme and uncompromising artificiality. Nonetheless, in the “unmasking of consciousness” à la Ödön von Horváth, it never lost touch with social and political reality.

Critics from abroad, freed from the burden of German history, soon heaped praise on this exceptional talent. For example, his 1979 film “The Third Generation”, largely rejected by German critics, was for an American commentator “the modern successor of Fritz Lang’s ‘Doctor Mabuse’ films”. The first retrospective of his work was shown in Paris in 1976. In the same year came the first critical study from London. A year later, a triumphant retrospective followed in New York in which he was celebrated as the “greatest European talent”. His 1977 international production “Despair” marked a move into cinema d’auteur and, finally, in 1979 “ The Marriage of Maria Braun” was Fassbinder’s breakthrough to success with German audiences.

With his very own comédie humaine, Fassbinder was an author in the mould of Balzac. From the outset he had a vision which then became his mission. He wanted to become the chronicler of West Germany’s domestic history. His political reality was a society still heavily bogged down in the Nazi mire, caught up in a mania of construction, repression and Cold War angst, that had failed to seize the opportunity after 1945 for radical renewal and that remained, until the end of the sixties, a strictly patriarchial and conservative feudal democracy.

As a director, Fassbinder came to represent Germany as a result of his serious obsession but most probably also through his “heaviness” and “lack of humour”. According to Proust, the climate and the landscape are the two factors that form and shape an individual (to which, as a third factor, should be added history, a being which is brutal, unrelenting and blind). Consequently, although he was at home in leather bars all over the world and had an apartment in Paris, Fassbinder remained a child of West Germany, more specifically, Munich.

“My films are about dependency”. His last monumental masterwork (or, if you prefer, monster work) is Berlin Alexanderplatz (1980), a film drawn most definitely from the darkest depths of humanity, and intended for a Martian cinema much as Karl Kraus intended his play “The Last Days of Mankind” for performance in a Martian theatre, and which brings together once again the central themes of Fassbinder.

These include the admiration for independent women, the fascination of friendships between men, the right to resist, money as the spiritual essence of capital society, love as a commodity (always proving ruinous) inexorably subject to the rule that he who loves must also pay, the impossibility to find love and happiness in bourgeois families, time and again the vicious circle of economic, emotional and sexual exploitation and, finally, in this connection, the observation that in romantic relationships class and educational difference always make their mark.

“This ‘baring of the soul’ was part of Fassbinder’s fictionalised persona. He was and remained above all a storyteller, and probably the only German filmmaker of the twentieth century to possess such a broad sympathetic vision of human beings to engender (and ‘gender’) a world which is unmistakably his and at the same time offers itself to be if not entered, then, in any event, recognised by others.” (Thomas Elsaesser) The unique work of this catalyst appears preserved today in film museums and film studies departments. However, notwithstanding its particular historic context, it remains valid and fresh, time and again, (in the same way as the work of Pasolini) because it provokes topical, aesthetic, creative and critical debates and irritations.

From his earliest works, Fassbinder addressed the issues of gender difference and sexual identity which, presented in such laconic and straightforward manner, was an absolute novelty in German film. At times he was bitterly attacked by “Woolworth feminists” (great hue and cry surrounded “The Bitter Tears of Petra von Kant”). But, in fact, femwww.cine-plus.de

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Š Greg Gorman, courtesy of Hohmann Fine Art

© BLOOD FOR DRACULA - USA 1974

Dieses außerirdische Grünblau.

Er arbeitete mit Warhol, Fassbinder, Schlingensief, Lars von Trier – und wird nun zum Serienstar.

Udo Kier ist der schillerndste deutsche Schauspieler in den USA. Ein Hausbesuch in Palm Springs von Katja Nicodemus

Luxusghetto reicher Rentner, die in den Wintermonaten von ihren Pools auf schneebedeckte Bergketten blicken und ihre Hispano-Gärtner terrorisieren. Aber die Palmenoase wurde auch zum Refugium der Stars, die vom Moloch Los Angeles in die Wüstenstille flüchten. Hier lebten Frank Sinatra, Clark Gable, Ginger Rogers, Elvis Presley, Lauren Bacall, Marlene Dietrich, Elizabeth Taylor – und dass Udo Kier, aufgewachsen in Köln-Mülheim und seit Jahrzehnten der schillerndste deutsche Schauspielexport in die USA, ganz folgerichtig an diesem Ort gelandet ist, zeigt allein schon sein Auftritt in der Lobby des Hotels.

Um 16.59 Uhr ist er da. Seine Augen strahlen in diesem außerirdischen Grünblau, das auch den jungen Rezeptionisten zu verdattern scheint.

Kier verströmt diskret exzentrischen Glamour und wirkt doch wie ein kleiner Junge zu Streichen aufgelegt. Er trägt Sportkleidung und hält der Besucherin die Tür seines Jeeps auf, als umhüllte ihn ein Smoking.

Da ist sie, diese Mischung aus Nonchalance und Stilgefühl. Die wie aus Erz gegossenen Züge und darunter vibrierende Empfindsamkeit. Kiers Augen sind sanft, aber man weiß, wie diabolisch, stechend, grausam sie die Leinwand durchbohren können.

Fassbinder bringt den „Kier-Effekt“, die Fähigkeit zu zart-brutalen Gratwanderungen, zum ersten Mal auf die Leinwand. In seinem Film „Bolwieser“ verkörpert Kier 1977 einen Friseur, der eine Kundin, gespielt von Elisabeth Trissenaar, verführt. Verschwörerisch flüsternd, mit hypnotischer Stimme, rät er der jungen Provinzlerin zu Greta-Garbo-Locken. „Wie gesagt, Frau Vorstand, ich will Ihnen nicht zureden.“ Vor diesem diabolischen Auftritt hatte Kier schon in dem Horrorfilm „Hexen bis aufs Blut gequält“ gegen die Inquisition gekämpft, in Andy Warhols Dracula literweise Blut gekotzt und in dem französischen Erotikschocker „Die Geschichte der O“ nackte Frauen versklavt – doch auch bei Kier ist es Fassbinder, der das Besondere erkennt: einen Schauspieler,

Schon toll, dass es Menschen gibt, die an einem kalifornischen Wüstennachmittag bei 43 Grad im Schatten nach einem einzigen Klingelton ans Handy gehen und ihr Leben auf den Punkt bringen: „Ich bin grad beim Sport mit meinem Personal Trainer, weil ich beim Drehen in Wien immer Sachertorte gefrühstückt habe“, sagt Udo Kier, „um fünf komme ich ins Hotel, dann fahren wir zu mir, dann gehen wir essen, und morgen fahren wir auf meine Ranch. Ciao!“ Wahrscheinlich braucht es diese Mischung aus Präzision und Überschwang, wenn man wie Kier seit fünf Jahrzehnten in kantiger Schönheit zwischen Trash, Pop, Filmkunst und zwei Kontinenten pendelt. Bei Rainer Werner Fassbinder lernte Udo Kier das Kino – und ging im richtigen Moment. In Christoph Schlingensiefs „100 Jahre Adolf Hitler“ spielte er den Führer als schwitzigen Junkie. Er war der Nasa-Psychologe in dem Blockbuster „Armageddon“ und der emsige wedding planner in Lars von Triers „Melancholia“. Gemeinsam mit Madonna hat Kier für deren Erotikbuch muskulöse Männer zugeritten, in dem Video zu „Deeper and Deeper“ ihren dämonischen Guru gespielt – das sind noch harmlose Ausschnitte aus der Bildersammlung dieses berserkerhaft drehenden Darstellers, der immer auch ein Kölscher Jung blieb und, man glaubt es kaum, siebzig Jahre alt wird.

Wir treffen uns in Palm Springs, Kalifornien. Das Hotel, ein um einen kleinen Pool gelegenes Ensemble, ist Udo Kiers Empfehlung. Angenehm abgeblätterter Siebziger-Jahre-Charme, rauer Beton, psychedelische Fliesenwände. Irgendwie fühlt man sich hier schon ein wenig umfangen von Kier, der als Halbwüchsiger seinen Nierentisch mit Gips und Kachelscherben aufhübschte. Und den es nun nach London, Paris, Rom, München, New York und Hollywood in die amerikanische Wüste verschlagen hat.

Vor 25 Jahren zog Kier von Deutschland nach Los Angeles, wo er noch ein Haus hat, seit zehn Jahren lebt er in Palm Springs. Der Ort gilt als

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fremden Blick: „Guck mal, da hängt eine Einkaufstüte, von Andy Warhol 1964 signiert und von Lichtenstein auch noch mal!“ Kier macht keinen Hehl aus seiner Begeisterung, nach zweimonatigen Dreharbeiten in Wien wieder mit seinen Bildern zusammenleben zu können. Alles ist eng gehängt, auf vielen Werken steht: „To Udo with love“. „Das sind fast alles Geschenke“, sagt Udo Kier. „Und Erinnerungen. Mit Robert Longo habe ich einen Film gemacht, mit Hockney bin ich befreundet, Mapplethorpe hat mich fotografiert, mit Warhol habe ich gearbeitet.“ Man kann sich vorstellen, dass Warhol ein Auge für die fast unwirkliche Sexyness des Neunzehnjährigen hatte, den er in seine Clique aufnahm. Es war das New York der Partys, des Studio 54, der Ateliers, der Factory. Kier sieht diese Phase Anfang der siebziger Jahre pragmatisch: „Für mich war Warhol wichtig, weil ich vom normalen Zeitungspapier auf die Glanzseiten rutschte, zur Vogue . Da durfte ich mich mit Warhol und seinem Dackel namens Archibald fotografieren lassen. Alles wurde plötzlich mondän. Man ging ins Maxim’s, und alle schrien: ,Hi Andy!ʻ“ Ist es die Bodenständigkeit des Arbeiterjungen? Oder der Blick eines Mannes, der so vielen großen Namen begegnet ist, dass er sich nicht davon beeindrucken lässt, erst recht nicht im eigenen Wohnzimmer?

Am stolzesten scheint Kier auf seine Fundstücke zu sein, die zwischen den Celebrity-Werken hängen: Gemälde, Stillleben, Skizzen von unbekannten Künstlern. Im Grunde hat Udo Kier seine Kunst genauso gesammelt wie seine Filme: unersättlich und neugierig, stilvoll auch im Stillosen, mit spielerischem Ernst. „Guck mal, diese Landschaft hat nur acht Dollar beim Trödler gekostet!“ Überhaupt, eine gemeinsame Tour durch die Trödelläden müsse man unbedingt machen, sagt Kier und verschwindet dann doch im Bad. Den Tisch für ein frühes Abendessen hat Udo Kier im Spencer’s, dem Restaurant des Tennisclubs von Palm Springs, reserviert. Die Wände sind holzgetäfelt, die Klientel ist grau bis grau meliert und in der Mitte des Raumes klimpert ein schläfriger Pianist. Draußen, man glaubt es kaum, werden die Tennisplätze bei Temperaturen von um die vierzig Grad mit Klimaanlagennebel benetzt. Es fühlt sich seltsam an, in dieser Umgebung über Nachkriegsdeutschland und Fassbinder zu sprechen.

Die beiden lernten sich kennen, als Fassbinder noch gar nicht Fassbinder war. Zwei Fünfzehnjährige begegneten sich hin und wieder in einer Kölner Arbeiterkneipe, die auch vom Rotlichtmilieu frequentiert wurde.

Udo, der kaufmännische Lehrling, und Rainer Werner, der in Köln zur Schule ging. Zwei kleine Voyeure, fasziniert vom Spektakel des Lebens. „Es gab da einen Transvestiten, der sich Judenfürstin nannte“, sagt Kier. „Und Rita. Die hat sich in Casablanca umoperieren lassen und das Ergebnis im Keller gezeigt.“ Jahre später, als sich die beiden in München wiederbegegneten, sagte Fassbinder zu Kier, dass er ihn zunächst nicht als Schauspieler beschäftigt habe, weil er sich durch ihn an diese Jahre erinnert gefühlt habe. Es seien für ihn keine guten Zeiten gewesen. „Für die meisten von uns!“,

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der eins mit sich ist und doch einen irritierenden Millimeter neben sich steht. Es ist dieser Millimeter, in dem sich der Kiersche Abgrund auftut.

Kier muss auf der Leinwand gar nicht versuchen ein ganz anderer zu sein, weil in seinem Abgrund alles Platz hat, die exzentrischsten Bilderuniversen, die durchgeknalltesten Leinwandfantasien. Und weil er neben sich, aber nie neben der Rolle steht, ist er ein so großer Trash-Darsteller. Man muss sich nur anschauen, wie liebevoll er das Baby spielt, das in Lars von Triers Krankenhausserie „Hospital der Geister“ mit einem Udo-Kier-Kopf zur Welt kommt und schon verlassen ist. Oder auch den hüstelnden Anführer einer Nazikolonie auf dem Mond in dem Science-Fiction-Film „Iron Sky“. Solchen Figuren, die sich durch Übertreibung vernichten ließen, verleiht Kier eine seltsame Würde.

Im Sommer des vergangenen Jahres übernahm er in Wien für den verstorbenen Gert Voss die Hauptrolle in der achtteiligen österreichischen Familienserie „Altes Geld“. Es ist eine Groteske rund um einen Patriarchen, der eine Spenderleber sucht, und um seine Familie, die sich darüber in Gier und Niedertracht zerstreitet. Und vom Oktober 2014 an feierte der Dokumentarfilm „Arteholic“, eine Rundreise durch europäische Museen, Udo Kier als Künstlerfreund und Kunstliebhaber im Kino.

Es ist also eine Menge los rund um den Mann, der einmal gesagt hat, er würde gerne als Arne-Jacobsen-Designerstuhl wiedergeboren werden, weil man dann immer so angenehm eingeölt werde.

Ob er wohl viele schöne Möbel hat? Auf dem Weg zu seinem Haus fahren wir über den vierspurigen Canyon Drive durch Palm Springs.

Es geht vorbei an Ferienhausblocks, Boutiquen, Restaurants, Palmenalleen. Plötzlich biegt Kier ab. „Nur mal kurz gucken, ja?“, sagt er und springt aus dem Wagen. Auf dem Parkplatz eines Autohändlers stehen alte Bentleys, Buicks und Chevrolets und warten auf Bewunderung.

Zärtlich streicht Kier über das braune Chassis eines Ford Mustang.

Liegt es an seiner beflügelnden Gegenwart oder an der die lästige europäische Vernunft wegbrennenden Wüstensonne, dass man sich vorstellen kann, diesen gelben Cadillac Eldorado, Baujahr 1979, für 6500 Dollar zu kaufen? Wieder im Auto, sagt Kier: „Ist doch schön, sich schöne Sachen anzuschauen.“ Als wir sein Haus betreten, einen hellen Klinkerbau aus den sechziger Jahren, bekommt der Satz seine ganz eigene Wahrheit. Das Gebäude, eine ehemalige Stadtbibliothek, besteht letztlich aus einem einzigen großen Raum mit Glastüren und großen Fenstern. An den Wänden hängen Kunstwerke von Andy Warhol, Roy Lichtenstein, Sigmar Polke, David Hockney, Rosemarie Trockel, Robert Longo. Auf dem Boden stehen Designklassiker von Charles und Ray Eames, Eero Saarinen und natürlich Arne Jacobsen. Dennoch hat der Raum nichts Museales, was auch an der lässigen Unaufgeräumtheit der einen oder anderen Ecke liegen mag. Udo Kier gibt der Besucherin ein Leckerli für Blue, seinen alten Mischlingshund, der von seinem Schlafplatz in den Wohnraum trottet. Eigentlich will Kier duschen gehen, aber da ist die Freude über den

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sagt Kier. „Ich bin ja vaterlos aufgewachsen. Wir hatten zu Hause kein warmes Wasser und kein Geld. Es reichte nur für die Volksschule. Und ich musste diese Lehre machen, die ich hasste.“ Aber ausgesehen habe er wie Elvis Presley. „Meine Mutter war Näherin, dadurch hatte ich die engsten Hosen. Birkenöl im Haar, spitze Schuhe, weißes T-Shirt mit U-Boot-Ausschnitt und wie Presley ’ne schwarze Tolle.“ Auf der Rückfahrt durch die provozierend sternenklare Wüstennacht sprechen wir über Heimatgefühle. Los Angeles, Hollywood, Palm Springs hin oder her – natürlich sei er Rheinländer durch und durch, sagt Udo Kier. „Ich bin da groß geworden, diese Herzlichkeit, diese Grobheit: ,Hör mir up jetzt damit. Bumm. Ende, aus!ʻ Und Köln war ja erst mal der Kölner Dom. Den Prunk und Glamour fand ich super.“ Nach Deutschland wolle er dennoch nicht zurück, obwohl er im thüringischen Gehren eine alte Schule gekauft hat, in der seine Bücher und weitere Möbel stehen.

Vor dem Hotel umrundet Kier den Jeep, um die Beifahrertür zu öffnen.

Als ich sage, dass das nicht nötig sei, macht er eine Kopfbewegung zur Rezeption: „Aber ja doch, die gucken doch!“ Jetzt hört er sich wirklich kölsch an.

Am nächsten Tag brausen wir vor einer Staubwolke durch Morongo Valley. In der bergigen Westernlandschaft, etwa zwanzig Meilen von Palm Springs entfernt gelegen, hat Udo Kier vor ein paar Jahren eine Ranch gekauft. „Es ist eher irgendwas zwischen Bonanza und Tatort“, sagt Kier, als wir vor einem sich elektrisch öffnenden Zauntor halten.

Auf dem weitläufigen Gelände voller Bäume und Palmen steht ein flacher Bau mit überdachter Holzveranda. Auch dieses Haus ist angefüllt mit Bildern und Möbeln, im eher rustikalen Stil. Jedes Stück hat seine Eigenart und doch ist alles stimmig. Er habe alle Palmen und Bäume selbst gepflanzt, sagt Kier, als wir über das Grundstück spazieren. Auch die Veranda habe er gemeinsam mit einem Handwerker gezimmert.

Und was befindet sich in den zwei riesigen Schiffscontainern hinter dem Haus? „Noch mehr Möbel“, sagt Udo Kier.

Die Ranch gehöre für ihn zu seiner Inszenierung des Amerikanischen Traums: „Für mich ist es eine Ranch, weil es die Symbolik einer Ranch erfüllt. Da sind die Schlangenleder-Cowboystiefel, da ist der Brunnen, und der Pick-up steht vor der Tür.“ Das Auto benutze er nie.

Von Morongo Valley fahren wir noch tiefer in die Wüste hinein. Fast an der Grenze zum Joshua Tree Park gehört Kier ein weiteres Grundstück.

Darauf stehen die bizarr geformten Bäume, Joshua Trees. Und eine riesige ausgebaute Scheune. Green Velvet nennt Udo Kier das grün gestrichene Gebäude, als Hommage an David Lynch. Und weil der Einrichtungsstil wieder ein anderer ist: irgendwie magisch, mit Tierfiguren, einem grünen Samtsofa, schweren Kommoden. Am Rande des Grundstücks stehen zwei weitere Schiffscontainer. Möbel? „Klar“, sagt Udo Kier.

Will er denn ewig leben? Immer neue Häuser und Grundstücke kaufen, Räume erschaffen und bespielen? Die Weite der Wüste scheint für Kier ein Selbsterfindungs- und Selbstinszenierungsraum zu sein. Die Verlängerung seiner rund 200 Filme durch grenzenloses, omnivores, obsessives Sammeln. Und genau wie all die Möbel in Containern, Häusern, Scheunen werden auch die großen, kleinen, ehrwürdigen, durchgeknallten, trashigen Rollen durch ihn selbst zu einem Ganzen. Zum Gesamtkunstwerk Udo Kier.

Der nächste Mittag, bei Udo Kier zu Hause. Sein Lebensgefährte, der Künstler Delbert McBride, kommt vom Einkaufen, Udo Kier telefoniert mit seinem Agenten und lehnt eine Rolle ab. Blue schläft. Alltag in Palm Springs.

In der Mitte des Raumes steht eine flache Plexiglasvitrine, darüber hängt eine Lederjacke. Keith Haring habe sie ihm in seinem Atelier in New York bemalt, sagt Kier. „Ich hab das Ding in Discos in die Ecke geworfen. Bis mir mal jemand gesagt hat, ich sei verrückt, das sei doch ein wertvolles Kunstwerk.“ Nun komme die Jacke in die Vitrine, auf einem goldenen Bügel.

Ist das nicht das Gegenteil seiner lebendigen Sammlung? Die Musealisierung der Kierschen Biografie hinter Glas? „Aber nein doch“, sagt Udo Kier, „wenn ich mit der Jacke ausgehen will, nehme ich sie aus der Vitrine. Da baue ich an der Seite natürlich ein Türchen ein!“ So wie er es sagt, so liebenswert kölsch, klingt es wie Dürschen.

UDO KIER This unworldly greeny blue He worked with Warhol, Fassbinder, Schlingensief and Lars von Trier. Now he’s playing the lead in a new TV drama.

Udo Kier is the most decadent and captivating German actor in the United States. We visited him at home in Palm Springs.

by Katja Nicodemus It’s great that there are people who in the middle of the afternoon in the Californian desert, when it’s 43 degrees in the shade, answer their mobile phone after just one ring and come straight to the point. Udo Kier tells me, “I’m just working out with my personal trainer. When we were filming in Vienna I had sachertor every day for brunch. I’ll get to the hotel at five, then we’ll drive to my place, go for dinner and tomorrow we’ll drive to my ranch. Bye.” This combination of precision and exuberance is probably necessary for someone like Kier, who for five decades has swung between the genres of trash, pop and arthouse back and forth across the Atlantic. It was Rainer Werner Fassbinder who introduced him to cinema, with Kier getting away at just the right time.

Dieser Artikel wurde erstmalig in DIE ZEIT Nº 42/2014 veröffentlicht.

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world in Lars von Trier’s hospital mini-series “Kingdom”, bearing an adult Udo Kier head, abandoned by his mother. Or his portrayal of the coughing and spluttering leader of a group of Nazis living on the Moon in the science fiction film “Iron Sky”. Exaggeration would destroy such figures. However, Kier’s performance fills them with a strange dignity.

In the summer of 2014, following the death of Gert Voss, he took on the leading role in the eight-part family drama for Austrian TV “Altes Geld” (Old Money). This is a grotesque saga centred around a patriarch searching for a liver donor who is surrounded by his quarrelling family motivated by greed and malice. This was followed a few months later by the release of the documentary “Arteholic”, a journey through European museums, that celebrates Udo Kier as an art aficionado and friend of the artists. It seems that there is plenty going on around the man who once said he would like to be reborn as an Arne Jacobsen designer chair as these are always so lovingly oiled.

I wonder if he owns lots of great furniture. The route to his place in Palm Springs takes us down the broad highway of Palm Canyon Drive. We go past holiday apartments, boutiques, restaurants, palm-lined boulevards. Suddenly Kier pulls off the road. “I just want to have a look”, he says, as he jumps from the vehicle. Standing on the parking lot of a car dealer is a collection of old Bentleys, Buicks and Chevrolets waiting to be admired. Tenderly Kier strokes his hand across the bodywork of a Ford Mustang. Is it his energizing presence or the desert sun burning away my tiresome European rationality that leads me to imagine spending 6,500 dollars on this yellow 1979 Cadillac Eldorado? Back in the car, Kier says, “It’s nice to look at pretty things.”

As we enter his home, a light brick-built construction from the sixties, this sentence takes on a meaning of its own. The building, a former library, is essentially one large room featuring glass doors and broad windows. The walls are hung with artwork by Andy Warhol, Roy Lichtenstein, Sigmar Polke, David Hockney, Rosemarie Trockel and Robert Longo. The floor area is filled with classic designer items by Charles and Ray Eames, Eero Saarinen and, of course, Arne Jacobsen. But the room has nothing of a museum about it, something that is helped by the casual disarray visible in one or more corners. Udo Kier gives his visitor a treat to feed to Blue, his old crossbreed dog, which comes ambling into the room from its sleeping quarters. Kier wants to go and shower but holds back, too busy enjoying the outsider’s gaze, “Look at this”, he says, “there’s a shopping bag hanging here that was signed in 1964 by Andy Warhol and by Lichtenstein too.”

Kier doesn’t try to hide his enthusiasm at being back at home with his pictures after two months of filming in Vienna. Everything is hung closely together. Many works are dedicated: To Udo with love. “They’re nearly all gifts”, he says. “And reminders. Robert Longo – that was someone I made a film with. Hockney is a friend of mine. Mapplethorpe took pictures of me. Warhol is someone I worked with.” It’s easy to imagine how Warhol took a shine to the almost unnatural sexiness of the 19-year old whom he quickly included in his circle of friends. It was the New York of parties, of Studio 54, of ateliers, of the Factory. Kier takes a pragmatic view of this period in the early seventies. “Warhol was important for me, as I moved from the regular newsprint to the glossy-coated pages and to Vogue. I now had the chance to be photographed with Warhol and his dachshund called Archibald. Everything suddenly became so-

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In Christoph Schlingensief’s “100 Years of Adolf Hitler”, he played the Führer as a sweaty junkie. He was the NASA psychologist in the blockbuster “Armageddon” and the assiduous wedding planner in Lars von Trier’s “Melancholia”. Together with Madonna he saddled muscular guys for her erotic photo book, also playing her devilish guru in the video to “Deeper and Deeper”. These are simply some of the tamer images of this demonic performer; an actor who never forgot his Cologne roots and, unbelievably, is shortly to turn 70.

We meet in Palm Springs, California. The hotel, arranged around a small pool, is Udo Kier’s recommendation. With raw concrete and psychedelic tiled walls, it has the gracefully peeling charm of the seventies. The vague presence of Kier – the teenage designer who remodelled his coffee table with a mosaic of broken tiles – can be discerned somehow. This is a man whose journey has taken him to London, Paris, Rome, Munich, New York and Hollywood before reaching now the American desert.

It is 25 years since Kier left Germany for Los Angeles, where he still has a home. For the last ten years he has been living in Palm Springs. Considered by some a luxury ghetto for wealthy pensioners to spend the winter months at the poolside, gazing at snow-capped mountains and terrorising their Hispanic gardeners, this place has also become a refuge for the stars, escaping the hellhole of Los Angeles for the tranquillity of the desert. This is where Frank Sinatra, Clark Gable, Ginger Rogers, Elvis Presley, Lauren Bacall, Marlene Dietrich and Elizabeth Taylor all came to live. It is entirely in keeping with this tradition that Udo Kier, a child of Cologne and for decades Germany’s most decadent and captivating actor export to the United States, has made it his home, too. This is all too evident from his entrance in the hotel lobby.

4.59pm. Kier arrives. His eyes are a piercing, unworldly, greeny blue, appearing to faze the young woman at the reception desk. Kier exudes discreet eccentric glamour with the air of a cheeky young rascal. Although dressed in sportswear he holds open the door of his jeep for his visitor as if cloaked in a tuxedo. This is it – the combination of nonchalance and sophistication. Dramatic features, as if cast of iron, and within a vibrant and sensitive soul. Kier’s eyes are gentle – although their powerful capacity to penetrate the screen in devilish, piercing and brutal manner is all too familiar.

Fassbinder was the first to expose this “Kier effect”, the ability to modulate between tender and brutal. In Fassbinder’s 1977 film “The Stationmaster’s Wife”, Kier is a hairdresser who seduces a customer, played by Elisabeth Trissenaar. Whispering in conspiratorial tones and hypnotic voice he counsels the young provincial woman to go for Greta Garbo curls. “As I said, Madam, I do not wish to cajole you.” Prior to this devil-like appearance, Kier had already fought the inquisition in the horror film “Mark of the Devil”, spewed litres of blood in Andy Warhol’s “Dracula” and enslaved naked women in the French erotic shocker “The Story of O.” However, as so often, it was Fassbinder who recognized the actor’s particular talent. Someone who is at ease with himself and yet, irritatingly, stands an inch away from himself. This is the gap in which a deep chasm in his character looms.

On screen Kier does not have to attempt to be a different person, as there is place within this chasm for the most eccentric of visual universes and the weirdest of screen fantasies. It is this ability to exist outside of his own skin that makes him such a great trash performer. Take, for example, the devotion with which he plays the baby that enters the

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phisticated. We entered Maxim’s and everyone called out ‘Hi Andy!’”

Is it the down-to-earth character of this working class boy? Or the look of a man who has met so many big names they don’t overawe him, particularly not in his own living room. Kier seems to be most proud of his own discoveries that hang between the celebrity works. Paintings, still lifes, sketches by unknown artists. Essentially, Udo Kier has collected his art in the same way as his films, insatiably, driven by curiosity, showing great style even amongst the trash and with a playful seriousness.

“Look here. This landscape cost me only eight dollars at the junk shop.”

He impresses on me that we really should go on a tour of the junk shops together – before he then disappears, after all, into the bathroom.

The table Udo Kier has reserved for an early dinner is at Spencer’s, the restaurant at Palm Springs Tennis Club. The walls are wood panelled, the guests go from lightly greying through to silver and in the middle a sleepy pianist is idly tinkling some tunes. It is hard to believe that outside, with temperatures around 40 degrees, air-conditioning units are misting the tennis courts. In these surroundings it feels strange to be talking about post-war Germany and Fassbinder.

They got to know each other at a time when Fassbinder was not yet Fassbinder. Two fifteen-year olds who bumped into each other from time to time in a working class bar in Cologne also frequented by characters from the red light scene. Udo, the trainee clerk, and Rainer Werner, the teenager attending school in Cologne. Two young voyeurs, fascinated by the spectacle of life. “There was a transvestite there who called himself the Jewish princess”, Kier says. “And Rita. She had a sex-change operation in Casablanca and showed us the results in the basement.”

Years later, when the two ran into each other again in Munich, Fassbinder told Kier that initially he had not wanted him in his films as Kier’s presence reminded him of those years. And for him, that had not been a good period. “And for most of us, in fact”, Kier adds. “I grew up without a father. At home there was no hot water and we had no money.

I couldn’t stay on at school. And I had to do this apprenticeship that I hated.” But he explains that he looked like Elvis Presley. “My mother was a seamstress. That meant I had the skinniest trousers. Birch oil in my hair, pointed shoes, boat neck white T-shirt and a black curl, just like Presley.”

Driving back, beneath the atmospheric skies of a clear desert night, we talk about feelings of home. Los Angeles, Hollywood, Palm Springs, take it or leave it – at heart he is still from the Rhineland, Kier tells me.

“That’s where I grew up, where they’re warm-hearted and plain-speaking.” He utters a phrase or two in local dialect to prove his point. “And of course Cologne wouldn’t be Cologne without the cathedral”, he continues. “I loved all that pomp and glamour.” He tells me that he has no desire to return to Germany despite the old school building he has bought in Thuringia, which houses his books and more of his furniture.

Parked in front of the hotel, Kier goes round the jeep to open the passenger door. I tell him he doesn’t need to. But he gestures with his head towards the reception, saying “Oh yes I do, they’re watching us.” Now he sounds very Cologne-like.

The next day we rip through Morongo Valley, clouds of dust trailing behind us. Here, in the Western-like hills behind Palm Springs, some twenty miles from the city, Udo Kier recently bought a ranch. It reminds him of Bonanza, but with a German twist, he tells me as we pause briefly while the gates to the ranch open.

Within a large property planted with many trees and palms, there is a low building with a covered wooden veranda. This house too is filled with pictures and furniture. The style is more homespun. Each piece has its own character but as an ensemble it works well. As we walk across the property, Kier tells me that he planted all the palms and trees himself. The veranda too is his own work, built together with a carpenter. And what is kept in the two massive shipping containers standing behind the house? “More furniture”, is Kier’s answer.

For him, the ranch is part of his staging for the American Dream. “For me it is a ranch because it fulfils the image of a ranch. Here are the snakeskin cowboy boots, there’s the well, and the pick-up is parked by the door.” He never uses the truck.

From Morongo Valley we drive further into the desert. Here, almost on the edge of Joshua Tree Park, Kier owns another property. It is home to many of this strangely formed plant species, the Joshua Tree. And to a huge converted barn. Green Velvet is the name given by Kier to the www.cine-plus.de

green-painted structure, as a homage to David Lynch. And because it is furnished in a totally different style, magical somehow, with animal figures, a green velvet sofa, heavy wooden dressers. On the edge of the property are another two shipping containers. Furniture? “For sure”, says Udo Kier.

Does he want to live forever? Always buying homes and properties, creating and fitting out new spaces? The expanse of the desert appears to be a place for Kier to explore and dramatize his own self. An extension of his some 200 films through a process of unbounded, omnivorous, obsessive collecting. And, just as he does with all the furniture in the containers, homes and barns, through his very person all the roles great and small, distinguished and inane, come together to form a whole. To become the all-embracing art form – the Gesamtkunstwerk – that is Udo Kier.

Noon the next day. At home with Udo Kier. His partner, the artist Delbert McBride, returns from shopping. Udo Kier is talking to his agent on the phone and turns down the offer for a role. Blue is sleeping. Everyday life in Palm Springs.

In the middle of the room there is a slim perspex display cabinet. Above it hangs a leather jacket. Kier explains that Keith Haring decorated it for him in his New York atelier. “I threw the thing into the corner at discos.

Until someone told me I was mad and that it was a valuable work of art.” Now the jacket is going to be kept on a golden coat hanger in the display cabinet.

Is that not the opposite of his living collection? Turning Kier’s life into a museum piece, preserved behind glass?

“No way”, says Udo Kier. “When I want to go out wearing the jacket, I’ll take it out of the cabinet”. With a Cologne lilt to his voice, he adds, “It’s easy. I’ll just fit a door here on the side.”

This article was first published in German in DIE ZEIT No 42/2014.

PREDRAG AZDEJKOVIĆ from Serbia is the Director of the international queer film festival “Merlinka”. Furthermore he is the Editor in Chief of “GayEcho”, an LGBT News Portal, and Serbia’s only gay magazine “Optimist”. Since 2001, he is active in the field of LGBT rights as the founder and director of a gay and lesbian info centre. For his activism he received the prize for the best approach in fighting for the rights of discriminated groups by the German Federal Enterprise for International Cooperation.

YVONNE P. BEHRENS is a native of Germany and has been living in the USA since 1999. She is the Executive Director of the PORTLAND QUEER FILM FESTIVAL and Director of the PORTLAND GERMAN FILM FESTIVAL. While living in Los Angeles, she worked for the UCLA Film & TV Archive and screened for the AFI FEST. She is a Committee Member of the LGBT group for the “Association of Moving Image Archivists (AMIA)” and a contributor to the Outfest/UCLA Legacy Project.

NICK DEOCAMPO is a gay filmmaker, author, and film professor from the Philippines. He is the Festival Chairman of the “Quezon City International Pink Film Festival”. Deocampo received his Master of Arts degree in Cinema Studies in New York and his Certificate in Film in Paris. He has won numerous awards for his pioneering gay-themed documentaries and personal films that touched on themes of politics and gender. He was among the first recipients of the Asian Public Intellectuals fellow his ship grant.

BRADLEY FORTUIN was born in Windhoek, Namibia, and later moved to Botswana. He is member of the Lesbians Gays Bisexuals of Botswana (LeGaBiBo) and of the organizing committee of the annual “Batho Ba Lorato Film Festival”. As a young and vibrant intellectual, he uses social media to inspire, uplift and educate people about the different issues that affect the LGBT in Botswana. Fortuin is currently perusing his Bachelor’s degree in Information Systems and Information Management at the University of Botswana.

MUFFIN HIX is a Film Programmer for “Fringe! Queer Film & Arts Fest” in London. The DIY festival was launched in 2011 as a response to arts cuts and has been growing ever since. Hix is also Programmer for “The Lost Picture Show”, travelling pop-up vintage picture palace, and Programme Coordinator for the “BFI Flare London LGBT Film Festival”. An American expat loving London, she holds a BA in English and Film Studies from The College of William and Mary in Virginia and an MA in Film Curating from The London Consortium.

SHANA MYARA is the festival programmer of the Vancouver Queer Film Festival. She is an award winning writer whose work is featured in “The Journey Prize Stories: Canada’s Best New Writing, Coming Attractions” and has been shortlisted for the CBC Literary Award among other prizes. Furthermore she wrote the short screenplay “Newcomers Swim Every Friday” which was directed by Meghna Haldar.

MASCHA NEHLS is a freelancer in the field of art exhibitions and events in Berlin. In 2007 the „entzaubert queer D.I.Y.“ film festival was brought to live and Mascha has been with it since then. The festival’s focus lies on D.I.Y. films and brings together international queer artists and activists. Furthermore she curated film programmes in exhibitions and festivals in Hamburg, Barcelona and Montreal. Mascha wants to create spaces for the exchange of ressources and knowledge.

GUSTAVO SCOFANO was born and lives in Rio de Janeiro. He holds a BA degree in Communication Studies from the Federal University of Rio de Janeiro. Currently he is Head of Programming for “Festival do Rio, the Rio de Janeiro International Film Festival”. He has also worked with documentary research & acquisition for pay TV and art house theatrical distribution. Over the past years at “Festival do Rio”, he has curated midnight and genre sections, as well as retrospectives and music documentary sidebars.

DIEGO TREROTOLA is an Argentinian film critic, programmer and professor of film theory. He was a programmer at the Buenos Aires based “Bafici Film Festival” for six editions and the “Mar del Plata Film Festival” for two editions. In 2000, he created his own film exhibit, called “Audiovisual Queer”, and currently programs the LGBTIQ film festival “Asterisco” in Buenos Aires. His writings on film got published in several countries. He is also member of Fipresci, the international association of film critics.

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29. TEDDY AWARD / www.teddyaward.tv

29. TEDDY AWARD FILMLIST

FEATURE FILM DOCUMENTARY FILM SHORT FILM Forum Expanded RETRO

All queer ямБlms at the 65th Berlin International Film Festival 5th - 15th of February 2015

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29. TEDDY AWARD / www.teddyaward.tv

54: THE DIRECTOR’S CUT

AL BAHR MIN OUARAIKOUM THE SEA IS BEHIND

AUSÊNCIA ABSENCE

DIRECTOR Mark Christopher CAST Ryan Phillippe, Salma Hayek, Neve Campbell, Mike Myers PANORAMA USA 2015 106’, English

DIRECTOR Hicham Lasri CAST Malek Akhmiss, Hassan Badida, Yassine Sekkal, Mohammed Aouragh PANORAMA Morocco 2014 88’, Arabic/English

DIRECTOR Chico Teixeira CAST Matheus Fagundes, Irandhir Santos, Gilda Nomacce, Francisca Gavilán PANORAMA Brazil/Chile/France 2014 87’, Portuguese/English

07.02. / 22:30 Colosseum 1

09.02. / 22:45 CineStar 3 10.02. / 14:30 Cubix 9

08.02. / 22:30 CinemaxX 7 09.02. / 20:15 CineStar 3

10.02. / 19:30 Kino International 11.02. / 17:45 CineStar 3

12.02. / 22:30 CinemaxX 7 13.02. / 20:30 CineStar 3

10.02. / 22:30 Colosseum 1 13.02. / 14:30 Cubix 9

12.02. / 23:00 Cubix 7 & 8

15.02. / 17:45 CineStar 3

‘We’ve revolutionised going out‘, pronounces club owner Steve Rubell. At the legendary Studio 54, the mother of all nightclubs since the invention of disco, clubbing was much more than just socialising to music. In 1998, director Mark Christopher created a cinematic monument to this ostentatious mixture of Art Deco and plush, frivolous 1970s hedonism and drug-induced 24-hour party people. At the producers’ behest his film about this up-market disco in New York was changed considerably prior to its theatrical release and an extra 25 minutes of new material was added – including an ending that differed from the one in the original screenplay.

Now, seventeen years after the premiere of the producers’ version, the Panorama is presenting for the first time the painstakingly reconstructed original version telling the story of young, curly-haired blond Jersey boy Shane O’Shea who loses himself in the bewitchingly glamorous world of sex, drugs and disco and who only just manages to jump ship before the club is closed down by the police. This reintegrated version is weightier, darker, more drug-addled and above all queerer than the version that received the nod at the time.

Tarik is unable to shed a tear about the loss of his children, or that his life is in ruins. Instead he shrouds his moustache under a veil and sways his hips to the music as the procession moves down the street. Tarik is a H’Dya, a traditional dancer who appears in women’s clothes. Tarik’s father, who leads the parade down the empty Moroccan streets, bawls his eyes out when his beloved cart horse Larbi refuses to go on, and combs his mane lovingly with his dentures. Tarik’s ex-wife’s bruiser of a partner installs himself in Tarik’s toilet. And Tarik’s friend Murad is threatened and insulted on account of his homosexuality. Was there really something in the water, as everyone claims? Or is it all in Tarik’s mind?In his third feature film, Hicham Lasri tells us, in surreally beautiful black-and white images, about traditions and trance, intolerance and violence, friendship and flesh and blood. And about animal love – albeit possibly inappropriate. Aided by raucous Moroccan rock music, Lasri composes a David Lynch-like state of intoxication to produce a truly modern Maghrebi cinematic experience.

www.cine-plus.de

24

Ever since his father left his family in the lurch, 15-year-old Serginho has been trying hard to cope with the new challenges of his daily life. He works with his uncle at the market, supports his depressed mother as best he can, and takes care of his little brother. But how can he find his place in a world that compels him to grow up in such a hurry?

Full of longing for affection, he drifts through São Paulo with his friends Mudinho and Sivinha, visits an aunt who works in a circus on the edge of the city and spends as much time as possible with Ney, who gives private lessons, and to whom he feels especially close. But Serginho is consistently disappointed. He wants more from his mother, his friends, his future – and from Ney. Unfazed by the machismo that pervades his environment, he refuses to give up searching for a path between being responsible and caring and finding emotional security.Matheus Fagundes, who is just 17, lends both charismatic charm and a touching sense of self-confident ease to the role of the emotionally and sexually troubled Serginho. This enables his character to bear the weight of social expectations with profound faith in the possibility of happiness.

BEIRA-MAR SEASHORE DIRECTOR Filipe Matzembacher, Marcio Reolon CAST Mateus Almada, Maurício José Barcellos, Elisa Brites, Francisco Gick FORUM Brazil 2015, 83’, Portuguese/English

BIZARRE DIRECTOR Étienne Faure CAST Pierre Prieur, Adrian James, Raquel Nave, Rebekah Underhill PANORAMA France/USA 2015, 98’, English

06.02. / 21:45 CineStar 8 07.02. / 20:00 Colosseum 1

DER LETZTE SOMMER DER REICHEN THE LAST SUMMER OF THE RICH DIRECTOR Peter Kern CAST Amira Casar, Nicole Gerdon, Winfried Glatzeder, Heinz Trixner PANORAMA Austria 2015 91’, German/English

08.02. / 12:30 Kino Arsenal 1

07.02. / 22:30 Cubix 7 & 8

09.02. / 16:30 Delphi Filmpalast

10.02. / 22:30 CinemaxX 7 11.02. / 20:15 CineStar 3

07.02. / 19:00 Zoo Palast 1 08.02. / 10:00 CinemaxX 7

15.02. / 13:00 Haus der Kulturen der Welt Kino 1

12.02. / 20:45 Cubix 7 & 8

09.02. / 14:30 Cubix 9 15.02. / 22:30 Colosseum 1

Having been good friends for years, Martin and Tomaz now find themselves on the cusp of adulthood.

Martin’s father sends his son to southern Brazil, where the family is from, to sort out an inheritance matter. Tomaz accompanies him there. For both of them, the brief excursion to the coastal town becomes a journey into themselves. It’s not just the sea that nearly reaches the doors of the country house which exerts a slow, yet relentless pull on them – the two friends have the same effect on one other. Filipe Matzembacher and Marcio Reolon’s richly atmospheric, autobiographically inspired feature debut follows its two main characters on a weekend that will change their relationship forever. Beira-Mar is a wander through the borderlands between love and friendship, exploring sexual orientation and personal identity. The outstanding camerawork picks up on the protagonists’ complex emotional states in the same way as the soundtrack captures the roaring of the sea: gentle and powerful in equal measure.

Always on an equal footing with the subject and the characters, the film creates a moment of magic and tenderness. Looking for love and finding it are sometimes one and the same thing.

Maurice, a reticent young homeless man somehow manages to get by in Brooklyn; he spends his nights in parked cars until he finds himself at ‘Bizarre’, an underground club renowned for its burlesque shows. Maurice is fascinated by the club’s playful revues celebrating self-determined sexuality and creative otherness, and the two female club owners both adore him. He soon becomes a part of their chosen family, and begins to bond with introverted Luka. But Maurice turns his back on Luka’s growing affection. Running away from his true emotions he drifts aimlessly through the city. He tries to find his feet at a boxing club, where he meets Charlie.

Unable to withstand the pressure of his repressed feelings, Maurice unleashes a mounting foment of emotions, pervaded by tenderness and menace. Étienne Faure shot his film on location at ‘Bizarre’.

Illuminating the promise of an independent future for his aimless escapees in the resplendent creations of ‘Bizarre’s’ artistes, Faure moulds his keenly sensitive observations of these lost, disturbed souls to form a mesmerising trance.

Young and attractive company executive Hanna von Stezewitz (Amira Casar) has everything, and just takes whatever she doesn’t. She’s an arrogant and unscrupulous manipulator who has politicians and banks in her pocket – she’s a perfect example of predatory capitalism whose preferred sartorial look is patent leather and leather. To avoid boredom she seeks ever more extreme kicks and sees her abuse of a young girl with hopes of a career merely as collateral damage, nothing money can’t fix. The only person who stands in her way is her bedridden grandfather, the family patriarch, and his reactionary worldview. Desperate to be rid of him, she hires a killer. When Hanna unexpectedly finds a lover who is her equal in the shape of Sarah, the nun who is her grandfather’s nurse, her happiness seems complete. But does she really have everything under control? Peter Kern has succeeded in creating an angry, opulent portrait of manners in which everyone – rich or poor – is corruptible or at least susceptible to seduction, and criminality and capital go hand in glove. A merry dance of corruption in which anyone who steps out of time is simply brushed aside.

drawings: Ilona Fritzsche

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29. TEDDY AWARD / www.teddyaward.tv

DYKE HARD

EISENSTEIN IN GUANAJUATO

HÄRTE TOUGH LOVE

DIRECTOR Bitte Andersson CAST Peggy Sands, Alle Eriksson, M Wågensjö, Lina Kurttila PANORAMA Sweden 2014 94’, English

DIRECTOR Peter Greenaway CAST Elmer Bäck, Luis Alberti, Rasmus Slatis, Jacob Öhrmann WETTBEWERB Netherlands/Mexico/Finland/ Belgium 2015, 105’, English/English

DIRECTOR Rosa von Praunheim CAST Hanno Koffler, Andreas Marquardt, Luise Heyer, Marion Erdmann PANORAMA SPECIAL Germany 2015 89’, German/English

07.02. / 22:30 CinemaxX 7 08.02. / 20:30 Cubix 7 & 8

11.02. / 19:00 Berlinale Palast 12.02. / 13:00 Zoo Palast 1

06.02. / 21:30 Zoo Palast 1 07.02. / 12:30 CinemaxX 7

09.02. / 22:30 Colosseum 1 14.02. / 21:30 Zoo Palast 1

12.02. / 12:00, 18:00 Friedrichstadt-Palast

08.02. / 14:30 Cubix 9 12.02. / 18:30 Neues Off

15.02. / 21:15 Friedrichstadt-Palast

14.02. / 22:30 Colosseum 1

In 1931 the Soviet director Sergei Eisenstein travels to Guanajuato to direct his film Que viva México.

There he encounters a new culture and its dealings with death; he also discovers another revolution and his own body. Peter Greenaway depicts Eisenstein as an eccentric artist who travels to Mexico filled with the hubris of being an internationally celebrated star director. Once there, he gets into difficulties with his American financier, the novelist Upton Sinclair. At the same time he begins, in the simultaneously joyful and threatening foreign land, to re-evaluate his homeland and the Stalinist regime. And, in doing so, he undergoes the transition from a conceptual filmmaker into an artist fascinated by the human condition. Under his gaze, the signs, impressions, religious and pagan symbols of Mexican culture assemble themselves anew. Making use of extreme close-ups, splitscreens and a dramatic montage, Greenaway deliberately quotes and modifies Eisenstein’s own cinematic tools.

Scene by scene the film gets closer to Eisenstein the man, who finds himself surprised by an unexpected desire.

When karate champ Andreas Marquardt thinks about himself he feels nothing but bitterness: ‘I refused to feel anything. I was cold, like a block of ice, I couldn’t give a shit about anything.’ When he was two years old, his father poured water over him and put him outside on the balcony in subzero temperatures. Another time he crushed his hand. When he was six, his mother began to seduce him: ‘Your prick belongs to me, my little friend.’ Later, Andreas became a pimp and earned millions – until he wound up behind bars. Lovely Marion was the only one who stood by him, who went on the game for him, and gave him the courage to go on … Interspersing interviews with dramatized scenes from Andreas Marquardt’s biography, Rosa von Praunheim describes a life that veers from fear and humiliation to contempt, hatred and brutality. Filmed in stylised sets replete with photographic wallpaper that recall West Berlin décor at the time, the film provides a shocking insight into the deep wounds caused by domestic violence and one man’s desperate attempts at resistance. Is it possible to break out of such a vicious circle?

After scoring a huge hit with their first single, hip lesbian band Dyke Hard fall into the creative doldrums. When their front woman leaves it looks like curtains for the rest of the band, but then the girls hear of a battle of the bands in the big city in three days’ time and decide to participate and give their maudlin career a kick start. A road trip adventure full of danger, intrigue and all sorts of obstacles ensues. The women find themselves in a haunted house and soon after wind up unjustly accused on death row until a gay prison warder helps them escape. They find brief respite at the home of a sweet old lady with a hidden agenda who almost makes them forget where they’re going. But their luck turns again and, following a battle with cyborgs and ninjas they finally manage to make it to the competition, just in time. ‘Trash as trash can!’ is the ambitious motto of this camp and zany sexploitation-horror-trash-musical guaranteed to be lacking in anything resembling good taste. This is a tonguein-cheek, perverse, polymorphic ride that has the potential to vie with cult offerings by the likes of John Waters and Russ Meyer.

www.cine-plus.de

26

HOW TO WIN AT CHECKERS (EVERY TIME)

I AM MICHAEL

MARIPOSA BUTTERFLY

DIRECTOR Josh Kim CAST Thira Chutikul, Ingarat Damrongsakkul, Iirah Wimonchailerk, Arthur Navarat PANORAMA Thailand/USA/Indonesia 2015 80’, Thai/English

DIRECTOR Justin Kelly CAST James Franco, Zachary Quinto, Emma Roberts PANORAMA SPECIAL USA 2015 100’, English

DIRECTOR Marco Berger CAST Ailín Salas, Javier De Pietro, Julián Infantino, Malena Villa PANORAMA Argentina 2015 103’, Spanish/English

08.02. / 20:00 CinemaxX 7 09.02. / 11:00 HAU1

09.02. / 18:30 Zoo Palast 1 10.02. / 15:30 CinemaxX 7

07.02. / 20:30 Kino International 08.02. / 20:15 CineStar 3

09.02. / 20:30 Cubix 7 & 8

11.02. / 14:30 Cubix 9 14.02. / 23:00 Cubix 7 & 8

09.02. / 23:00 Cubix 7 & 8 14.02. / 19:00 Zoo Palast 1

San Francisco in 1998. Queer activist Michael is passionately committed to supporting gay and lesbian youths. His own deep longing to belong means that he is tirelessly engaged in redefining his own existence, absorbing with apparent ease young Tyler into his long-term relationship with his friend Bennett.

The trio decides to travel America to record on film the lives of gay teenagers. They subsequently manage to raise the cash to launch Michael’s own LGBT magazine. But Michael isn’t happy with the way he’s living his life. Following a suspected heart attack he strives to find a way to balance sexuality and spirituality and decides to leave his chosen family and friends. After engaging in meditative contemplation and heterosexual experiments, he firmly embraces Christianity. In his sensitive directorial debut, Justin Kelly deftly juxtaposes different periods of time to describe the unusual transformation of Michael Glatze, the co-founder of the magazine ‘Young Gay America’ and a one-time inspirational figure of the LGBT community who, after prolonged and persistent soulsearching, decided to reject homosexuality and become a preacher.

A butterfly, a creature symbolising rebirth and a new beginning, epitomises Romina’s and Javier’s world, a world that consists of two parallel realities.

In one of them they grow up as siblings who desire each other and try to give shape to their love without sexual fulfilment; in the other they are a young man and woman who form an awkward friendship instead of succumbing to their feelings for each other. Javier finds himself in a discordant relationship with Mariela. Mariela’s brother is interested in Bruno. Bruno is with Romina, but wants to be with Javier. Playfully alternating between these two realities, the lovers find themselves drawn into ever new couplings in order to explore their intuitive feelings – cautiously, but at the same time prepared to lose everything.Marco Berger, who won the 2011 Teddy Award, takes a fascinating film idea and turns it into an impressive universe of endlessly diverse approaches to friendship and love. This is an unusually dynamic space in which emotional insecurity, sexual confusion, incest, self-deception, intuition and spiritual bonding all find their place.

10.02. / 14:00 Kino International 15.02. / 21:30 Zoo Palast 1

The poor outlying districts of Bangkok are a world where you grow up very quickly. After both their parents die, eleven-year-old Oat, his little sister and his older brother Ek move in with their aunt.

Ek works in a bar for male prostitutes and transvestites. His relationship with Jai, the son of rich parents, began when he was still at school. Their uneven love for one another is put to the test when the day of the annual conscription arrives; this is when a lottery decides who must do military service and who can stay at home. Young Oat steals money from the local mafia boss in order to buy their beloved brother and family breadwinner out of the army. His actions have dramatic and traumatic consequences.Told from the younger brother’s point of view, the film takes a refreshingly unadorned and impartial look at an essentially loving environment where social conditions are governed by venality, corruption and false ideals.

www.cine-plus.de

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Artwork by Rinaldo Hopf

Der Queere Filmpreis der Berlinale

13.02.2015 21:00 : TEDDY AWARD CEREMONY @ Komische Oper Berlin Host: Jochen Schropp - mit Ingrid Caven, Katharine Mehrling, Agnes Zwierko, dem Orchester der Komischen Oper Berlin, pop:sch, einer Hommage an Rainer Werner Fassbinder und mit vielen anderen - Special TEDDY AWARD: Udo Kier

23:00 : TEDDY AFTER SHOW Lounge, Chill & Dance mit "l'ensemble transes continentale" und "Das blaue Wunder" feat. Magnus & Norbert

TICKET HOTLINE 030-4799 7474

Tickets ohne VVK Gebühr bei papagena und im Eisenherz Buchladen, Motzstraße 23, 10777 Berlin. An allen anderen VVK Stellen zzgl. VVK Gebühr

www.teddyaward.tv

19:00 Der Letzte Sommer der Reichen Zoo Palast 1

14:30 Härte Cubix 9

14:30 El hombre nuevo CineStar 7

22:45 Al bahr min ouaraikoum CineStar 3

19:30 Sangue azul Cubix 7 & 8

17:45 Stories of Our Lives CineStar 3

16:00 San Cristóbal CinemaxX 5

23:00 Mariposa Cubix 7 & 8

20:00 Sangaile CinemaxX 7

20:00 How to Win at Checkers (Every Time) CinemaxX 7

16:30 Beira-Mar Delphi Filmpalast

10.02.

20:00 Beira-Mar Colosseum 1

20:00 El hombre nuevo CineStar 7

16:30 Calamity qui?

Akademie der Künste (Hanseatenweg)

21:00 Sangue azul CinemaxX 7

20:30 Mariposa Kino International

20:15 Mariposa CineStar 3

17:00 Danieluv Svet CineStar 7

06.02.

21:30 Sueñan los androides Delphi Filmpalast

20:30 Dyke Hard Cubix 7 & 8

18:30 I am Michael Zoo Palast 1

22:30 54: The Director's Cut Colosseum 1

21:30 Nasty Baby Zoo Palast 1

19:00 Viaggio nella dopo-storia Delphi Filmpalast

22:30 Feelings Are Facts: The Life of Yvonne Rainer CineStar 7

22:30 Sueñan los androides Kino Arsenal 1

20:15 Ausência CineStar 3

22:30 Bizarre Cubix 7 & 8

22:45 Sangaile CineStar 3

20:30 How to Win at Checkers (Every Time) Cubix 8

22:30 Dyke Hard CinemaxX 7

22:30 Ausência CinemaxX 7

20:30 Cyclops Observes the Celestial Bodies

05.02.

THURSDAY

FRIDAY

14:30 Je suis Annemarie Schwarzenbach CineStar 7 21:30 Härte Zoo Palast 1 21:45 Beira-Mar CineStar 8 22:30 Haftanlage 4614 CineStar 7 22:45 Sangue azul CineStar 3

07.02.

SATURDAY 12:30 Härte CinemaxX 7 14:30 Misfits CineStar 7 17:00 Fassbinder - lieben ohne zu fordern Cubix 7

www.cine-plus.de

Akademie der Künste (Hanseatenweg)

08.02.

09.02.

10:00 Der Letzte Sommer der Reichen CinemaxX 7

11:00 How to Win at Checkers (Every Time)

SUNDAY

MONDAY

20:30 How to Win at Checkers (Every Time) Cubix 7

HAU Hebbel am Ufer (HAU1)

20:30 Orchard Street Akademie der Künste (Hanseatenweg)

10:30 Sangaile Kino Arsenal 1

13:00 Nasty Baby CinemaxX 7

12:30 Beira-Mar Kino Arsenal 1

14:00 Sangaile Kino International

14:00 Kumu Hina CinemaxX 3

14:30 Der Letzte Sommer der Reichen Cubix 9

30

22:30 Dyke Hard Colosseum 1 22:30 Onthakan CinemaxX 7

TUESDAY 10:00 Kumu Hina

Filmtheater am Friedrichshain

12:00 Danieluv Svet CineStar 7 14:00 How to Win at Checkers (Every Time) Kino International 14:30 Al bahr min ouaraikoum Cubix 9 15:30 I am Michael CinemaxX 7 16:00 Blood Below the Skin CinemaxX 57 16:30 Fassbinder - lieben ohne zu fordern Kino International 17:00 Nasty Baby Cubix 9 19:00 Untitled (Human Mask) Akademie der Künste (Hanseatenweg) 19:30 54: The Director's Cut Kino International 20:00 The Yes Men Are Revolting CineStar 7 20:30 IEC LONG Akademie der Künste (Hanseatenweg)

22:00 Cancelled Faces Akademie der Künste (Hanseatenweg)

17:30 Kumu Hina CinemaxX 17

22:00 Bad at Dancing CinemaxX 3

17:30 Je suis Annemarie Schwarzenbach CineStar 7

22:30 Zui Sheng Meng Si CineStar 7

17:45 Blood Below the Skin Colosseum 1

22:30 Ausência Colosseum 1

17:45 54: The Director's Cut CineStar 3

22:30 Bizarre CinemaxX 7

19:00 Eisenstein in Guanajuato Berlinale Palast

23:00 Onthakan Cubix 7 & 8

20:00 Haftanlage 4614 CineStar 7

11.02.

20:00 Wonderful World End

WEDNESDAY

12:30 Cyclops Observes the Celestial Bodies Kino Arsenal 1 12:30 Orchard Street Kino Arsenal 1 14:00 El hombre nuevo Kino International 14:30 I am Michael Cubix 9 14:30 Fassbinder - lieben ohne zu fordern CineStar 7 16:00 La Isla está Encantada con Ustedes CinemaxX 5 16:00 The Mad Half Hour CinemaxX 5 16:15 Untitled (Human Mask) Kino Arsenal 1

Haus der Kulturen der Welt Kino 1

20:15 Bizarre CineStar 3 20:30 Gineva Akademie der Künste (Hanseatenweg) 21:45 Viaggio nella dopo-storia CinemaxX 4 22:00 Sueñan los androides Akademie der Künste (Hanseatenweg) 22:00 San Cristóbal CinemaxX 3 22:00 Onthakan Zoo Palast 2 22:30 The Yes Men Are Revolting CineStar 7

12.02.

THURSDAY

09:30 Wonderful World End Zoo Palast 1 11:00 Blood Below the Skin HAU Hebbel am Ufer (HAU1)

11:00 Viaggio nella dopo-storia CineStar 8 12:00 Eisenstein in Guanajuato Friedrichstadt-Palast 12:00 Je suis Annemarie Schwarzenbach CineStar 7 13:00 Eisenstein in Guanajuato Zoo Palast 1 14:30 Cancelled Faces Kino Arsenal 1 15:15 Fassbinder - lieben ohne zu fordern Colosseum 1 17:00 Misfits CineStar 7 17:00 IEC LONG Kino Arsenal 1 17:15 Dear John Akademie der Künste (Hanseatenweg) 17:15 Vyshybalshitsa Akademie der Künste (Hanseatenweg) 17:30 Danieluv Svet Cubix 7 17:45 Bad at Dancing Colosseum 1

31

18:00 Eisenstein in Guanajuato Friedrichstadt-Palast

23:00 54: The Director's Cut Cubix 7 & 8

18:30 Härte Neues Off

13.02.

FRIDAY

10:00 Zui Sheng Meng Si CinemaxX 7

18:30 Calamity qui?

Kino Arsenal 1

12:00 Vergine giurata Friedrichstadt-Palast

19:00 Vergine giurata Berlinale Palast

12:00 Misfits CineStar 7

19:00 Zui Sheng Meng Si Zoo Palast 1

12:30 Sangue azul CinemaxX 7

20:00 Stories of Our Lives Kino International

14:00 The Yes Men Are Revolting Kino International

20:00 Feelings Are Facts: The Life of Yvonne Rainer CineStar 7

14:30 Ausência Cubix 9

20:45 Bizarre Cubix 7 & 8

14:30 Feelings Are Facts: The Life of Yvonne Rainer CineStar 7

21:30 Blood Below the Skin Neues Off

14:30 Zui Sheng Meng Si Cubix 9

22:00 The Mad Half Hour CinemaxX 3

15:30 Je suis Annemarie Schwarzenbach Colosseum 1

22:00 La Isla está Encantada con Ustedes CinemaxX 3

16:00 Bad at Dancing CinemaxX 5

22:30 Haftanlage 4614 CineStar 7

16:30 Gineva Kino Arsenal 1

22:30 Al bahr min ouaraikoum CinemaxX 7 22:30 The Yes Men Are Revolting Colosseum 1

17:00 Stories of Our Lives CineStar 7 17:00 Feelings Are Facts: The Life of Yvonne Rainer Kino International

29. TEDDY AWARD / www.teddyaward.tv

Filmtheater am Friedrichshain

Bötzowstr. 1-5, 10407 Berlin

17:30 Viaggio nella dopo-storia Kino Arsenal 1

16:30 Sueñan los androides CineStar 8

16:00 La Isla está Encantada con Ustedes Kino International

17:30 Haftanlage 4614 Cubix 7

17:00 Danieluv Svet CineStar 7

16:00 San Cristóbal Kino International

17:30 Kumu Hina CinemaxX 1

17:30 El hombre nuevo Cubix 7

16:00 Bad at Dancing Kino International

Veranstaltungsorte

17:45 San Cristóbal Colosseum 1

17:45 La Isla está Encantada con Ustedes Colosseum 1

16:00 Kumu Hina Kino International

Akademie der Künste Hanseatenweg 10 10557 Berlin

18:00 Dear John Kino Arsenal 1

17:45 The Mad Half Hour Colosseum 1

16:00 Blood Below the Skin Kino International

18:00 Vyshybalshitsa Kino Arsenal 1

19:00 Mariposa Zoo Palast 1

17:00 Je suis Annemarie Schwarzenbach Zoo Palast 2

19:00 Vergine giurata

20:00 Fassbinder - lieben ohne zu fordern CineStar 7

17:30 Wonderful World End CinemaxX 1

20:30 Al bahr min ouaraikoum CineStar 3

21:30 Dyke Hard Zoo Palast 1

17:45 Al bahr min ouaraikoum CineStar 3

21:00 Vergine giurata Friedrichstadt-Palast

22:30 Nasty Baby CinemaxX 7

17:45 La Isla está Encantada con Ustedes Colosseum 1

Haus der Berliner Festspiele

22:00 Blood Below the Skin CinemaxX 3

22:30 Härte Colosseum 1

19:00 Sangaile Zoo Palast 1

14.02.

23:00 I am Michael Cubix 7 & 8

19:30 The Mad Half Hour Zoo Palast 2

15.02.

21:15 Eisenstein in Guanajuato Friedrichstadt-Palast

SATURDAY

12:00 Stories of Our Lives Zoo Palast 2 12:30 Onthakan CinemaxX 7

SUNDAY 13:00 Beira-Mar

Haus der Kulturen der Welt Kino 1

14:00 Misfits Kino International

15:30 Feelings Are Facts: The Life of Yvonne Rainer Colosseum 1

15:30 Haftanlage 4614 Colosseum 1

16:00 The Mad Half Hour Kino International

www.cine-plus.de

21:30 How to Win at Checkers (Every Time) Zoo Palast 1 22:30 Der Letzte Sommer der Reichen Colosseum 1

32

Friedrichstadtpalast Friedrichstr. 107 10117 Berlin

VENUES

Arsenal Potsdamer Str. 2 10785 Berlin

Berlinale Palast Marlene-Dietrich-Platz 1 10785 Berlin

CinemaxX Potsdamer Str. 5 10785 Berlin

CineStar Potsdamer Str. 4 10785 Berlin

Colosseum Schönhauser Allee 123 10437 Berlin

Cubix Alexanderplatz Rathausstr. 1 10778 Berlin

Delphi Filmpalast Kanstr. 12 10623 Berlin

Kino International Karl-Marx-Allee 33 10787 Berlin

HAU Hebbel am Ufer (HAU1) Stresemannstraße 29 10963 Berlin

Haus der Berliner Festspiele Schaperstraße 24 10719 Berlin

Kino International Karl-Marx-Allee 33 10787 Berlin

Komische Oper Berlin Behrenstr. 55-57 10117 Berlin

Haus der Kulturen der Welt John-Foster-Dulles-Allee 10 10557 Berlin

Neues Off Hermannstraße 20 12049 Berlin

Schwuz Rollbergstr. 26 12053 Berlin

Zoopalast Berlin Hardenbergstr. 29a 10787 Berlin

NASTY BABY

ONTHAKAN THE BLUE HOUR

SANGAILĖ THE SUMMER OF SANGAILE

DIRECTOR Sebastián Silva CAST Kristen Wiig, Sebastián Silva, Tunde Adebimpe, Agustin Silva PANORAMA SPECIAL USA 2014 100’, English

DIRECTOR Anucha Boonyawatana CAST Atthaphan Poonsawas, Oabnithi Wiwattanawarang, Duangjai Hirunsri, Panutchai Kittisatima PANORAMA 2015, 97’, Thai/English

DIRECTOR Alanté Kavaïté CAST Julija Steponaityté, Aisté Diržiuté, Juraté Sodyté, Martynas Budraitis PANORAMA Lithuania/France/Netherlands 2015 88’, Lithuanian/English

08.02. / 21:30 Zoo Palast 1 09.02. / 13:00 CinemaxX 7

09.02. / 22:30 CinemaxX 7 10.02. / 23:00 Cubix 7 & 8

07.02. / 20:00 CinemaxX 7 08.02. / 10:30 Kino Arsenal 1

10.02. / 17:00 Cubix 9 14.02. / 22:30 CinemaxX 7

11.02. / 22:00 Zoo Palast 2 14.02. / 12:30 CinemaxX 7

08.02. / 22:45 CineStar 3 09.02. / 14:00 Kino International 15.02. / 19:00 Zoo Palast 1

Freddy is an artist whose desire for a baby has become something of an obsession. He surrounds himself with photographs of his childhood and is working feverishly on a fresh piece about newborns. He and his partner Mo have even managed to persuade their best friend Polly to have their baby. However, after numerous failed attempts to conceive, this proves to be more difficult than they first envisaged. Freddy’s planned video installation also turns out to be rather more complicated than he thought. And then, when the ‘Bishop’, their rather deranged neighbour, begins tormenting them with his serious chicanery, their hitherto carefree existence starts to go dangerously awry. A series of surprising events bring their frustrations to a head and before long, Freddy and his friends begin to lose their grip on reality. Sebastián Silva’s savagely satirical film is an angry portrait of a group of presumptuous and self-absorbed bohemians. The director himself plays the role of Freddy, infusing his performance with the complacency, doggedness, ignorance and egomania of a social circle which is in the process of becoming estranged from their original visions and dreams.

Tam, a timid loner, is bullied regularly by his fellow pupils at school. He is met with similar rejection and suspicion within the narrow confines of his parents’ dingy home, where his father beats him. One day Tam arranges online to meet Phum at a derelict swimming pool. They are both looking for sex, but their encounter leaves them with a feeling of comfort and security. A close bond develops between the two boys and, before long, they are roaming the rubbish heaps and dark corners of the city together, day and night. Phum opens a door for Tam, revealing a fantastical parallel universe full of spirits and dangerous encounters. Although he feels safe and loved for the first time in his life, Tam can no longer differentiate between dream and reality and finds himself increasingly drawn into a spiral of paranoia and violence.In his feature debut Boonyawatana leads his protagonist into an ambiguous microcosm full of chasms, at the same time cleverly toying with the conventions of different genres.

33

Seventeen-year-old Sangaile is mesmerised by the dance-like loop-de-loop and pirouettes of acrobatic pilots. She herself suffers from vertigo and could never imagine sitting in a cockpit. A quiet and introverted girl, she is spending her summer in the countryside at her parents’ holiday home where she tries to see the local air shows as often as she can. This is where she meets Auste, who lives out her days with impressive confidence and plenty of imagination. Sangailé is fascinated by Auste’s natural assertiveness. Together the girls sample everything that life in the country has to offer. They soon become close and, when Sangailé shares with Auste her most intimate secret, it gives her a sense of security she has never known before and provides her with the courage to fly for the first time in her life. In buoyant, cinematic images suffused with light Alanté Kavaïté brings together the isolated emotions of two very different girls in the universe that is young love. In her sensitive, intensely sensual film, she tells the story of their intimacy, their passionate devotion and delicate collisions; their vulnerability and sense of trust.

29. TEDDY AWARD / www.teddyaward.tv

STORIES OF OUR LIVES

SUEÑAN LOS ANDROIDES ANDROIDS DREAM

DIRECTOR Jim Chuchu CAST Kelly Gichohi, Janice Mugo, Jimmy Wanjala, Tim Mutungi PANORAMA Kenya 2014 60’, Swahili/English/English

DIRECTOR Ion de Sosa CAST Manolo Marín, Moisés Richart, Marta Bassols, Coque Sánchez FORUM Spain/Germany 2014 61’, Spanish/English

05.02. / 21:00 CinemaxX 7 06.02. / 22:45 CineStar 3

08.02. / 17:45 CineStar 3 12.02. / 20:00 Kino International

07.02. / 21:30 Delphi Filmpalast 08.02. / 22:30 Kino Arsenal 1

07.02. / 19:30 Cubix 7 & 8 13.02. / 12:30 CinemaxX 7

13.02. / 17:00 CineStar 7 14.02. / 12:00 Zoo Palast 2

11.02. / 22:00 Akademie der Künste (Hanseatenweg)

SANGUE AZUL BLUE BLOOD DIRECTOR Lirio Ferreira CAST Daniel de Oliveira, Caroline Abras, Sandra Coverloni, R ômulo Braga PANORAMA Brazil 2014, 119’, Portuguese/English

14.02. / 16:30 CineStar 8

A ship with a circus on board approaches an island in the South Atlantic. During the evening performance the ringmaster and illusionist Kaleb presents an artiste named Zolah who immediately wins over the hearts of everyone in the audience. Zolah is Pedro, who left the island twenty years previously at the age of nine. His reunion with his mother Rosa and his introverted sister Raquel brings the well-travelled acrobat face to face with old wounds and buried dreams. Raquel’s world is the sea, and she always retreats to its depths. She wishes that Pedro could be a part of it. Questions begin to present themselves to Pedro. Why did his mother send him away all those years ago? Whilst islanders and circus artistes enjoy a lively exchange, Pedro and Raquel seek out a place of their own. Feelings of guilt, rivalry and burgeoning pride soon become a challenge for the whole family. Lirio Ferreira explores these siblings’ willingness to take risks in images of impressively virtuoso circus acts, combining these with elements of classical tragedy and magical images of the sea to create a brilliant cinematic experience.

www.cine-plus.de

Members of the multi-disciplinary art collective NEST spent several months travelling Kenya collecting stories of young LGBTI people – stories about their experiences and their lives in a country that is still extremely homophobic. Based on countless anonymous interviews, they developed five screenplays for short films which provide an insight into the current situation and the problems of these sexually marginalised young people. These short, unadorned scenes are presented by director Jim Chuchu in crisp, poetic black-and-white images and accompanied by a measured soundtrack. The episodes, which address topics such as the search for identity and self determination, enforced heterosexualisation and the struggle for acceptance, have one thing in common: they all describe the need for love and the fear of fulfilling this love openly. Time and again, their fears prompt the question: it is better to hide away, resign oneself to the situation and leave the country, or to stay and fight openly for sexual diversity? In spite of the film being banned from public screenings in Kenya, the members have opted for the latter and are determined to continue their struggle for recognition.

34

The year may be 2052, yet this is a future with one foot in the past. Between the strangely artificial skyscrapers along the coastline and the neon-lined broadwalk, there’s nothing here to suggest it isn’t still 1975, 1995 or 2015. But there are fewer people around nowadays and many apartments lie empty, a tranquil wasteland of exposed wires, unfinished plasterwork and endless dust. Those that remain are at least house-proud, eager to show off their knickknacks and traditional costumes, when not meeting up for the occasional dance. Hardly the most obvious place for a bounty hunter, but the robots still need to be exterminated, particularly as they already look so much like you and me.Ion de Sosa’s spare, enigmatic adaptation of Philip K. Dick’s “Do Androids Dream of Electric Sheep?” is at once a minimalist genre piece, an oblique treatise on difference and an essayistic almost-documentary on the unreal status quo of contemporary Spain.

And as the title suggests, these androids do indeed dream: of far-off places and new opportunities; of the songs of past summers; of a shared embrace, a sheep on a leash, as the towers and mountains open out beyond.

VERGINE GIURATA SWORN VIRGIN

DIRECTOR Laura Bispuri CAST Alba Rohrwacher, Flonja Kodheli, Lars Eidinger, Luan Jaha WETTBEWERB Italy/Switzerland/Germany/ Albania/Republic Kosovo 2015, 90’, Albanian/Italian/English

WONDERFUL WORLD END

ZUI SHENG MENG SI THANATOS, DRUNK

DIRECTOR Daigo Matsui CAST Ai Hashimoto, Jun Aonami, Yû Inaba, Gô Rijû GENERATION Japan 2015 82’, Japanese/English

DIRECTOR Chang Tso-Chi CAST Lee Hong-Chi, Chen Jen-Shuo, Huang Shang-Ho, Lu Hsueh-Feng PANORAMA SPECIAL Taiwan 2015 107’, Mandarin/Taiwanese/English

12.02. / 19:00 Berlinale Palast

11.02. / 20:00 Haus der Kulturen der Welt Kino 1

10.02. / 22:30 CineStar 7 12.02. / 19:00 Zoo Palast 1

13.02. / 12:00 / 21:00 Friedrichstadt-Palast

12.02. / 09:30 Zoo Palast 1 15.02. / 17:30 CinemaxX 1

13.02. / 10:00 CinemaxX 7 14.02. / 14:30 Cubix 9

In her Gothic Lolita guise 17-year-old Shiori attracts a lot of followers for her blogcast. Whenever she can she talks about herself, offers make-up tips and is delighted at the growing number of visitors to her site. After a music video shoot, confident Shiori meets a strange young girl named Ayumi. The girl is a big fan of Shiori’s and tries to copy her style. She also seems to be rather distracted and monosyllabic, as if she had nothing of her own to say, but she has run away from home to be with Shiori. Hesitant, but also flattered, Shiori allows herself to be drawn in by this girl. This story of the odd friendship between these two girls is also a multi-coloured romp through the artificial world of Japanese teenagers.

They do crazy things and dream of making it big.

Their private thoughts are shared only in blogs. The film also reflects the disintegration of traditional forms of communication in its aesthetical approach: online chats pop up regularly over the proceedings.

It’s as if the smartphone display has been brought to the big screen. Based on two music videos by Seiko Oomori – Shiori’s favourite female musician in the film – the drama ends like a comic book dream.

The camera follows closely on the heels of two brothers – one gay, the other straight. Both are looking for a job in order to survive. But both are also looking for themselves and long to find a foothold in life. The younger brother sells vegetables at the market where he meets a young woman who cannot speak but who gets up to all sorts of crazy things. The older brother is attracted to a dancer at a nightclub and finds himself drawn into some shifty business. Taking its cue from the rhythm of their wanderings, the film stays very close to its protagonists, showing them in lonely moments at the river, rambling boisterously through Taipei’s club scene by night, among barkers at the market, and in quiet moments together. Again and again the tone and hence the mood of the film changes. Zui Sheng Meng Si proves once again that young Taiwanese cinema does not have to avail itself of classical storytelling to fascinate its audience. These are lives in limbo, without fixed coordinates. In this way the film evolves into a portrait of manners, and a panorama of a society that does not appear to welcome its next generation.

13.02. / 19:00 Haus der Berliner Festspiele

Hana is growing up in an archaic alpine landscape in Albania where the old codes and traditional gender roles prevail. She escapes the fate of a wife and servant when, in accordance with the Kanun, the traditional Albanian law, she pledges herself to life-long virginity, thus sacrificing her femininity for perceived freedom. From now on, she is treated like a man. She is given a dagger and the name of Mark. But after ten years of seclusion, she decides to change her life and takes the train to Milan, where her sister lives with her family. She is not exactly expecting Hana ...In her debut feature film, Laura Bispuri accompanies a young woman on a difficult and painful odyssey, away from the oldfashioned world of the mountains and into the modern life of the city. The film relays the story of a woman who rediscovers her sexuality and draws on allegoric images to allude to the ambivalences in Hana’s emotional life. This empathic study makes do with little dialogue, instead relying on glances, gestures and a protagonist who faces up to her own inconsistencies.

drawings: Ilona Fritzsche

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29. TEDDY AWARD / www.teddyaward.tv

DANIELŮV SVĚT DANIEL’S WORLD

EL HOMBRE NUEVO THE NEW MAN

DIRECTOR Veronika Lišková PANORAMA Czech Republic 2014 74’, Czech/English

DIRECTOR Aldo Garay PANORAMA Uruguay/Chile 2015 79’, Spanish/English

FASSBINDER - LIEBEN OHNE ZU FORDERN

FASSBINDER - TO LOVE WITHOUT DEMANDS DIRECTOR Christian Braad Thomsen CAST Rainer Werner Fassbinder, Irm Hermann, Harry Baer, Andrea Schober PANORAMA Denmark 2015 109’, German/English

09.02. / 17:00 CineStar 7 10.02. / 12:00 CineStar 7

08.02. / 20:00 CineStar 7 09.02. / 14:30 CineStar 7

07.02. / 17:00 Cubix 7 10.02. / 16:30 Kino International

12.02. / 17:30 Cubix 7 14.02. / 17:00 CineStar 7

11.02. / 14:00 Kino International 14.02. / 17:30 Cubix 7

11.02. / 14:30 CineStar 7 12.02. / 15:15 Colosseum 1 14.02. / 20:00 CineStar 7

Daniel, a 25-year-old student of literature, lies in the bath. Off-screen we hear his voice: ‘Although I’ve never been with either a boy or a girl, I can’t say my life lacks love.’ But what is it like for a young man who loves boys; a man who, unable to ever fulfil his desire, either has to content himself with sexual fantasies or use medication to suppress his feelings?

This film accompanies Daniel in his struggle to accept himself, and his desperate search for a partner.

While we watch simple yet well composed images of Daniel at the hairdressers, ice skating, or taking his mother’s dog out for a walk, his off-screen commentary continues to probe and find a way to handle both his coming out and his unfulfilled desires and live a fulfilled life. Not wanting to distort her protagonist’s voice, nor make his face unrecognisable, Veronika Lišková met over twenty paedophiles before choosing to work with Daniel who, in spite of being aware of how vulnerable he is making himself, is exceptionately open about his condition.

www.cine-plus.de

At the tender age of twelve, Roberto supported the Sandinista revolution in Nicaragua and fought for education and social reforms. He was to continue his political struggle fighting alongside the communist Tupamaros in Uruguay. Thirty years later he is struggling to live his life as a woman named Stephanía and striving to be accepted by both society and his family. Documentary filmmaker Aldo Garay has followed Stephanía for over twenty years. In El Hombre Nuevo he provides a personal and tender portrait of a woman who can look back on a tempestuous life in which violence, drugs, prostitution and political commitment all found its place. Scenes from her day-to-day life are interspersed with interview material that includes conversations with old friends, fellow-travellers and siblings, as well as a passionate, heated exchange with her mother. The picture of society that emerges is as diverse as it is intimate, and spans a time of great political upheaval in the 1970s to the present day.

36

Rainer Werner Fassbinder was probably Germany’s most significant post-war director. His swift and dramatic demise at the early age of 37 in 1982 left behind a vacuum in European filmmaking that has yet to be filled, as well as a body of unique, multi-layered and multifarious work of astonishing consistency and rigour. From 1969 onwards, Danish director and film historian Christian Braad Thomsen maintained a close yet respectfully distanced friendship with Fassbinder. Fassbinder - Lieben ohne zu fordern is based on his personal memories as well as a series of conversations and interviews he held with Fassbinder and his mother Lilo in the 1970s. The film also contains current interviews with Irm Hermann and Harry Baer, both of whom were close to Fassbinder. Beginning with Fassbinder’s extraordinary childhood in traumatised postwar Germany, the film, which is divided into seven chapters, provides an illuminating, intimate and moving tribute that bears witness to the enduring relevance of both the man and his work. Today in particular his oeuvre continues to provoke us to engage with controversy and tension – be it aesthetical, creative or critical.

FEELINGS ARE FACTS: THE LIFE OF YVONNE RAINER

HAFTANLAGE 4614 PRISON SYSTEM 4614

DIRECTOR Jack Walsh PANORAMA USA 2015 83’, English

DIRECTOR Jan Soldat PANORAMA Germany 2015 60’, German/English

JE SUIS ANNEMARIE SCHWARZENBACH

MY NAME IS ANNEMARIE SCHWARZENBACH DIRECTOR Véronique Aubouy CAST Julia Perazzini, Nina Langensand, Megane Ferrat, Pauline Leprince PANORAMA France 2015, 85’, French/English

07.02. / 22:30 CineStar 7 12.02. / 20:00 CineStar 7

06.02. / 22:30 CineStar 7 11.02. / 20:00 CineStar 7

06.02. / 14:30 CineStar 7 11.02. / 17:30 CineStar 7

13.02. / 14:30 CineStar 7 14.02. / 17:00 Kino International

12.02. / 22:30 CineStar 7 13.02. / 17:30 Cubix 7

12.02. / 12:00 CineStar 7 13.02. / 15:30 Colosseum 1

15.02. / 15:30 Colosseum 1

14.02. / 15:30 Colosseum 1

15.02. / 17:00 Zoo Palast 2

In 1966, Yvonne Rainer changed the world of modern dance with her performance ‘Trio A’ by analysing the repertoire of human movement in a radically unspectacular way. Influenced by Merce Cunningham and John Cage, she developed socio-political choreographies in which she explored on stage everyday movements in a way that deliberately thwarted audience expectations. Determined not to appear biddable, she began experimenting with film – applying to the new medium the same revolutionary impetus that was to be found in her body work. At the age of fifty-six she came out as a lesbian, and in 1997 she won the Teddy Award with MURDER and murder. Making abundant use of film excerpts, archive footage and reinterpretations of Rainer’s choreographies, director Jack Walsh succeeds in illustrating the artistic development of an unswerving yet likeable avant-gardist – from the 1950s to the present day. Complementing Rainer’s own recollections are contributions from dance experts and fellow-travellers such as Carolee Schneeman and B. Ruby Rich. Today, aged 80, she is still working on the stage, after Mikhail Baryshnikov persuaded her to make a belated comeback as a choreographer in the year 2000.

In the world of fetishes there’s a niche for every type of proclivity. Arwed caters to a special type of customer: he runs a private prison where he is happy to find all sorts of ways to bully and victimise his paying guests on the other side of the bars. As prison director he is master of ceremonies; during the course of one week, he and his partner Dennis help fulfil their prisoners’ wildest fantasies. The inmates treat the days and nights they spend in handcuffs and leg irons as a real holiday – here at last is a place they can finally switch off and relax. The role play looks a bit like improvised theatre, especially when director Arwed and his assistant Dennis plan the next day’s performance in the bare cells and corridors of their institution. But even when using the whip these ‘torturers’ never forget to be humane and, in spite of their tough prison warder guise, they are fully aware, in way that is almost caring, of their responsibility for those in ‘detention’. Director Jan Soldat poses his questions offscreen, in the same interview style that he adopted in his short films.

Annemarie Schwarzenbach was a shimmering figure of bohemian society of the 1920s. A talented writer, she was lesbian, addicted to drugs, a globetrotter, bewitchingly androgynous and – much to her domineering Nazi-loving mother’s chagrin – also anti-fascist. Berlin photographer Marianne Breslauer described her as the most beautiful creature she had ever encountered. Schwarzenbach died young at the age of 34. She remained forgotten until the 1980s when her books began to be republished and her biography reconstructed.

Director Véronique Aubouy does more than merely save Annemarie Schwarzenbach from obscurity, she brings her into the present. Sixteen young actors of both genders slip into different roles in order to play Schwarzenbach, her friends and lovers. Increasingly fascinated by the pull of this figure, their oscillations between genders becomes a joint project. Something that begins as an audition in which the young actors are asked to attach their biographies to that of the writer, ends in a dance of relationships in which the borders between reality and dramatization are blurred.

37

29. TEDDY AWARD / www.teddyaward.tv

MISFITS

THE YES MEN ARE REVOLTING

VIAGGIO NELLA DOPO-STORIA JOURNEY INTO POST-HISTORY

DIRECTOR Jannik Splidsboel PANORAMA Denmark/Sweden 2015 74’, English

DIRECTOR Laura Nix, Andy Bichlbaum, Mike Bonanno PANORAMA USA/Germany/France/Denmark/ Netherlands 2014 92’, English

DIRECTOR Vincent Dieutre CAST Simon Versnel, Vincent Dieutre, Emmanuel Pierrat FORUM France 2015 80’, French/English/English

07.02. / 14:30 CineStar 7 12.02. / 17:00 CineStar 7

10.02. / 20:00 CineStar 7 11.02. / 22:30 CineStar 7

09.02. / 19:00 Delphi Filmpalast

13.02. / 12:00 CineStar 7 14.02. / 14:00 Kino International

12.02. / 22:30 Colosseum 1

11.02. / 21:45 CinemaxX 4 12.02. / 11:00 CineStar 8

13.02. / 14:00 Kino International

14.02. / 17:30 Kino Arsenal 1

After almost two decades of humorous guerrilla activism against economic greed and political corruption as The Yes Men, everyday life and a crisis of identity seem to have caught up with the duo: Mike Bonanno now has a wife and children, and Andy Bichlbaum has not given up hope of a lasting relationship with his male partner. Their critical interventions, in which amongst other ruses they pretended to be spokespeople for the US Chamber of Commerce or for Shell and announced a change of tack to nonplussed members of the press have fizzled out without having had the desired effect.

Growing responsibilities in their private lives have influenced their ability to stage interventions together. In spite of this they still feel a duty to oppose climate change – which far overshadows any of humanity’s other problems – with all they have.

Alternating between Andy and Mike’s diary-like perspectives, this third film about The Yes Men (2009 Panorama Audience Award), describes the ups and downs of a creative friendship and takes an amusing look at the duo’s successful and not so successful interventions from 2009 to the present.

A couple travels to Italy. During their trip, the state of their relationship becomes clear to them: They argue, take different paths and wonder whether to divorce. Vincent Dieutre has remade Viaggio in Italia and adapted it to his own life. Alex and Kate have become Alex and Tom, played by Vincent himself and his partner Simon. This new couple goes to the same places, experiences similar things, but their time in Naples is inevitably not the same. The city has changed, as has the nature of relationships, tourism has become more digital. As the two become increasingly alienated, Vincent the filmmaker moves through the city with his camera. He talks about how Rossellini’s film shaped him. We hear his thoughts about a remake, notes to himself, his discussions with a copyright lawyer. Isabella Rossellini says she doesn’t want to be involved. In Vincent and Simon’s world, much like that of Tom and Alex, the procession of the final scene gives way to a football match. What was still sacred back then becomes a riot here. Yet the miracle of Rossellini’s film remains, inscribing itself on the bodies of the two men: voices superimposed on to images and images superimposed on to bodies.

Tulsa, Oklahoma is a city in the midst of the USA’s Bible Belt with almost 400,000 inhabitants, over 4,000 churches and just one gay and lesbian youth centre. This is the meeting place for Larissa, Ben, ‘D’ and other youths who because of their decision to live gay, lesbian and transgender lives, are either not accepted or, on the contrary, have received strong support from their families and unconditional love.Jannik Splidsboel, whose film How Are You screened in Panorama in 2011, takes an almost entirely observational approach to his depiction of the lives of these three teenagers, their first love or their longing for love, their coming out, and their dreams for the future. In an unhurried, almost casual fashion, the film shows how ‘D’ manages step by step to improve his precarious existence and how Ben learns from his brother how to defend himself. Courtesy of Larissa and her girlfriend we are also treated to one of the most dazzling and colourful lesbian kiss scenes in film history. Misfits portrays three basically ‘average’ young people as they try to live queer lives, find their gender identities, love and be loved in an environment pervaded by religious fundamentalism.

www.cine-plus.de

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BAD AT DANCING

BLOOD BELOW THE SKIN

DIRECTOR Joanna Arnow CAST Eleanore Pienta, Keith Poulson, Joanna Arnow BERLINALE SHORTS USA 2015 11’, English/English

DIRECTOR Jennifer Reeder CAST Jennifer Estlin, Kelsey Ashby-Middleton, Morgan Reesh, Marissa Castillo BERLINALE SHORTS USA 2015 32’, English

KUMU HINA A PLACE IN THE MIDDLE DIRECTOR Dean Hamer, Joe Wilson GENERATION USA 2014 25’, English 08.02. / 14:00 CinemaxX 3

10.02. / 22:00 CinemaxX 3 12.02. / 17:45 Colosseum 1

10.02. / 16:00 CinemaxX 5 11.02. / 17:45 Colosseum 1

10.02. / 10:00 Filmtheater am Friedrichshain

13.02. / 16:00 CinemaxX 5

12.02. / 11:00 HAU1 12.02. / 21:30 Neues Off

11.02. / 17:30 CinemaxX 1 13.02. / 17:30 CinemaxX 1

15.02. / 16:00 Kino International

13.02. / 22:00 CinemaxX 3 15.02. / 16:00 Kino International

15.02. / 16:00 Kino International

Interior, Day. Matt and Isabel lie in bed, naked. They have sex. She sits on top of him; they surrender to one another passionately. Joanna, the flatmate, enters the room and sits on the corner of the bed, close to them. Isabel and her boyfriend continue undeterred. Matt (after a while, without glancing sideways): “What is she doing here?” Joanna: “I can’t sleep.” Isabel (without stopping having sex): “Were we too loud?” Joanna (without moving to leave): “No.” Bad at Dancing is a chamber piece and a comedy. A sex game. Isabel and Matt are together, Joanna would like to be with Matt. Joanna tries out various approaches to achieve her aim. The three move together, embracing from body to body – dressed and naked. Always introversive. Always direct. Envy and emotion are given a surreal context. The question of borders and their necessity is raised anew. A rickshaw always drives on three wheels.

Blood Below the Skin chronicles a week in the lives of three teenage girls who attend the same high school class. Coming from different social circles, the girls prepare for the most important night of their life – Prom Night. They have formed a dance group and rehearse the choreography. Two of the girls are drawn to one another and fall in love. The third is forced to take care of her distraught mother in the wake of her father’s disappearance. Each girl finds refuge in her room and bed, comfort and a place to explore new feelings. The music blasting from the turntable provides a magical synchronicity between them all – the space-time continuum is expanded by the dimension of music. Jennifer Reeder tells everyday stories with stylistic elements of magic realism that recall Latin American cinema. All it takes is the power of thought in order to express your love to another.

She feels more like a boy than even most boys. This documentary follows eleven-year-old Hawaiian girl Ho’onani who dreams of leading her school’s traditional hula group. Hula is a mixture of dance and theatrical performance that is central to the culture of the Hawaiian people and requires a lot of practice. Here too, Ho’onani would like to dance on the boys’ side. Normally she wouldn’t be allowed to do so but Ho’onani is fortunate to have as her teacher the charismatic Kumu Hina, who assigns Ho’onani a special place in the middle. In ancient Hawaii there was always a life between genders, and a place for those who embrace both men and women. Kumu Hina knows what she is talking about for, twenty years ago, she was a man. Kumu Hina uses her profound knowledge to convey to her pupils the culture of their ancestors – a culture that has not been forgotten, in spite of years of influence by Christian missionaries. The magic word is ‘aloha’, meaning a life in harmony with nature.

It also means that every man and every woman should be loved, respected and valued.

www.cine-plus.de

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LA ISLA ESTÁ ENCANTADA CON USTEDES THE ISLAND IS ENCHANTED WITH YOU

SAN CRISTÓBAL

THE MAD HALF HOUR

DIRECTOR Alexander Carver, Daniel Schmidt CAST Raul De Nieves, Lydela Leonor, Lea Cetera, Carlos Solis-Keyser BERLINALE SHORTS USA/Switzerland/ Australia 2014, 28’, Spanish/English

DIRECTOR Omar Zúñiga Hidalgo CAST Samuel González, Antonio Altamirano BERLINALE SHORTS Chile 2015 29’, Spanish/English

DIRECTOR Leonardo Brzezicki CAST Julian Larquier, Diego Echegoyen, Laila Maltz, Martina Juncadella BERLINALE SHORTS Argentina/Denmark 2015 22’, Spanish/English

11.02. / 16:00 CinemaxX 5 12.02. / 22:00 CinemaxX 3

09.02. / 16:00 CinemaxX 5 11.02. / 22:00 CinemaxX 3

11.02. / 16:00 CinemaxX 5 12.02. / 22:00 CinemaxX 3

14.02. / 17:45 Colosseum 1 15.02. / 16:00 Kino International

13.02. / 17:45 Colosseum 1

14.02. / 17:45 Colosseum 1 15.02. / 16:00 Kino International

15.02. / 17:45 Colosseum 1

15.02. / 16:00 Kino International

15.02. / 19:30 Zoo Palast 2

In 1511, indigenous people in Puerto Rico seduced and murdered a representative of colonial power.

Some 300 years later, a further chapter of colonial history: In 1803, by order of the Spanish Crown, a doctor named Francisco Javier de Balmis travelled to Puerto Rico with a number of orphans. They were carriers of the live vaccine with which Balmis executed one of the first mass immunisations against smallpox. A glance to the present day: In 2014, Puerto Rico produced an enormous amount of pharmaceuticals with subsidies from the USA. By interweaving strands of colonial and postcolonial history, the filmmakers of La Isla está Encantada con Ustedes have created a lyrical work that mirrors and completes the dynamics of power and lust. A modern roundelay, that restages the past in the present.

Lead by a gaze of sexual subtext, this is a comedy in which reality is subordinate to strategies of power – while revealing the closely intertwined nature of health and economics, in the past and present.

Lucas and Antonio. Two young men meet and fall in love in a remote fishing village in the south of Chile.

One lives there, the other is visiting. Sensuality dictates the pace of the narrative and the lives of both in the days to follow: Being one another’s mirror.

Recognising one another. Yielding to one another.

When the village rebels against their love, the experience of this limitation marks a momentous step in Lucas’ and Antonio’s adulthood. A simple story of love and devotion, shot in the style of Direct Cinema. A not-so-simple setting, in Chile’s Deep South, where anything that breaks out of the perceived norm is to be destroyed immediately, punished.

The characters know of the limitations within the village. The romantic notion of resistance is brief; of greater importance are life and the love that is found. Going further. Going beyond the self.

Once a day, domestic cats go completely mad. A total burst of energy. It’s all over within half an hour. No one knows why. That’s just how it is.Juan is rather similar. He doesn’t know why, it just seizes him. The loss of commitment. Why should he bother to hit a ball over the net and wait for it to be returned, while making sure it stays within the white line? Does he still love Pedro, no, perhaps yes? Pedro is used to it and takes him by the hand.

They venture into the night together and stray, likes cats, through the streets of Buenos Aires. Far more than pursuing narrative logic, the film follows human feelings without ever fully relinquishing the threads of the storyline.

BAD AT DANCING Joanna Arnow, 11‘ BLOOD BELOW THE SKIN Jennifer Reeder, 32‘ KUMU HINA D. Hamer & J. Wilson, 25‘ LA ISLA ESTÁ ENCANTADA CON USTEDES SAN CRISTÓBAL Omar Zúñiga Hidalgo, 29‘ THE MAD HALF HOUR Leonardo Brzezcki, 22‘ 41

A. Carver & D. Schmidt, 28‘

(Total Length: 147‘) 29. TEDDY AWARD / www.teddyaward.tv

A SPECTACLE OF PRIVACY DIRECTOR Roy Dib

Lebanon, 2014, 9’ Arabic/English

IEC LONG

Portugal 2014, 31’ Cantonese/English

INSTALLATION Akademie der Künste (Hanseatenweg)

DIRECTOR João Pedro Rodrigues, João Rui Guerra da Mata 10.02. / 20:30 Akademie der Künste (Hanseatenweg) 12.02. / 17:00 Kino Arsenal 1

CALAMITY QUI?

OPAQUE

DIRECTOR Isabelle Prim

Canada/France 2014, 4’ French/English

10.02. / 22:00 Akademie der Künste (Hanseatenweg) 12.02. / 14:30 Kino Arsenal 1

CANCELLED FACES DIRECTOR Lior Shamriz

South Korea/Germany 2014, 80’, Korean/English

Germany 2014, 10’ English

DIRECTOR Pauline Boudry, Renate Lorenz

INSTALLATION Akademie der Künste (Hanseatenweg)

ORCHARD STREET

USA 1955, 27’ Without dialogue

DIRECTOR Ken Jacobs

09.02. / 20:30 Akademie der Künste (Hanseatenweg) 11.02. / 12:30 Kino Arsenal 1

CYCOPS OBSERVES THE CELESTIAL BODIES

DIRECTOR Cheng-Ta Yua

DIRECTOR Ken Jacobs

PRACTISING LIVE

Taiwan 2014, 31’ English

09.02. / 20:30 Akademie der Künste (Hanseatenweg) 11.02. / 12:30 Kino Arsenal 1

INSTALLATION Akademie der Künste (Hanseatenweg)

DEAR JOHN

UNTITLED (HUMAN MASK)

DIRECTOR Hans Scheugl

Austria 2014, 42’ English

12.02. / 17:15 Akademie der Künste (Hanseatenweg) 13.02. / 18:00 Kino Arsenal 1

GINEVA DIRECTOR Nicolas Cilins

Switzerland 2014, 43’ Romanian/English

11.02. / 20:30 Akademie der Künste (Hanseatenweg) 13.02. / 16:30 Kino Arsenal 1

www.cine-plus.de

DIRECTOR Heiner Carow CAST Matthias Freihof, DAgmar Menzel, Dirk Kummer, Michael Gwisdek German Democratic Republic 1989, 109’, German/English 12.02. / 17:00 Kino International

10.02. / 22:00 Akademie der Künste (Hanseatenweg) 12.02. / 14:30 Kino Arsenal 1 USA 2014, 15’ Without dialogue

COMING OUT

DIRECTOR Pierre Huyghe

France 2014, 19’ English

10.02. / 19:00 Akademie der Künste (Hanseatenweg) 11.02. / 16:15 Kino Arsenal 1

VYSHYBALSHITSA DIRECTOR Lyusya Matveeva

Russian Federation 2014, 21’ Russian/English

12.02. / 17:15 Akademie der Künste (Hanseatenweg) 13.02. / 18:00 Kino Arsenal 1

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Die DEFA-Stiftung verleiht ab 2013 während der Internationalen Filmfestspiele Berlin den Heiner-Carow-Preis. Ausgezeichnet wird ein deutscher Spiel-, Dokumentar- oder Essayfilm aus der Sektion Panorama. Mit dem Preis wird an den Filmregisseur Heiner Carow (1929-1997) erinnert, der in den Babelsberger Filmstudios unter anderem Filme wie „Sie nannten ihn Amigo“ (1959), „Die Legende von Paul und Paula“ (1973) und „Coming out“ (1989) inszenierte. Für „Coming Out“, den einzigen in der DDR gedrehten Film mit schwuler Thematik, erhielt er im Februar 1990 den Silbernen Bären im Berlinale-Wettbewerb und den TEDDY AWARD für den besten Feature Film.

Der Queere Filmpreis der Berlinale

PARTYPARTYPARTYPARTYPARTYPARTYPARTY

Artwork by Rinaldo Hopf

PARTYPARTYPARTYPARTY PARTYPARTYPARTYPARTYPARTYPARTYPARTY

22:00 GRAND OPENING Night @ SchwuZ "London Calling"

TEDDY AWARD JURY Reception – und 3 Floors : Independent: marsmaedchen & Lego / Elektronische Tanzmusk: Chance & Dark, Lucky Pierre & Ena Lind / Janus-floor: dpd & M.E.S.H. / TEDDY Info u. Stände zum Thema Trans* und Chelsea Manning

23:00 TEDDY CLOSING PARTY @ SchwuZ „Partysane“

Rotz'n'Pop: Gloria Viagra & Pa$cha / Urban Sounds: Black Cracker & Friends / Discolectro: Disco Gessner & hintergrundrauschen Live: POP:SCH / Infostände zum Thema Trans* und Chelsea Manning / Partysane-Groschen: TEDDY e.V. www.teddyaward.tv

ANNE OF THE INDIES

BLACK NARCISSUS

GENTLEMEN PREFER BLONDES

DIRECTOR Jacques Tourneur CAST Jean Peters, Louis Jourdan, Debra Paget PANORAMA USA 1951 81’, English ST

DIRECTOR Michael Powell, Emeric Pressburger CAST Deborah Kerr, Sabu, David Farrar PANORAMA Great Britain 1947 101’, English ST

DIRECTOR Howard Hawks CAST Jane Russell, Marilyn Monroe, Charles Coburn PANORAMA USA 1953 91’, English ST

07.02. / 12:00 Zeughauskino

10.02. / 17:30 Zeughauskino

09.02. / 17:30 CinemaxX 8

12.02. / 22:00 CinemaxX 8

14.02. / 19:45 CinemaxX 8

15.02. / 19:30 CinemaxX 8

Pirate captain Anne Providence finds a French prisoner on board a British ship she has captured.

Pierre François La Rochelle says he has been shanghaied by Anne’s archenemies and the lady pirate eventually makes him her sailing master. Colour is used to signify gender-bending in this proto-feminist flick – while Anne’s red bandanna worn signals her willingness to engage in erotic gameplay, her rival is adorned with the gift of a gold lamé dress, downgrading her to a mere sex object.

Sister Superior Clodagh and four other Anglican nuns are sent to open a school and clinic deep in the Himalayas. Physically and emotionally overwhelmed by the situation, Sister Clodagh starts reliving a romance from her pre-vow days, while Sister Ruth succumbs to erotic fantasies about local Brit Mr. Dean. “Colour itself became the emotion of the picture”, fan Martin Scorsese said, praising the “painting with light” of Cardiff, who was inspired by Vermeer’s use of light and van Gogh’s colours.

As New York showgirls Lorelei Lee and Dorothy Shaw travel to Europe, they are shadowed aboard ship by private detective Ernie Malone, hired by the disapproving father of Lorelei’s fiancé. Lorelei’s behaviour makes it easy for Malone to find proof of her alleged “infidelity”. Meanwhile, Dorothy falls in love with the detective. The film mixes the seemingly incompatible for Marilyn Monroe’s stunning performance of “Diamonds are a Girl’s Best Friend”.

The result was the birth of “camp”.

GONE WITH THE WIND

LEAVE HER TO HEAVEN

NIAGARA

DIRECTOR Victor Fleming CAST Vivien Leigh, Clark Gable, Leslie Howard PANORAMA USA 1939 234’, English ST

DIRECTOR John M. Stahl CAST Gene Tierney, Cornel Wilde, Jeanne Crain PANORAMA USA 1945 110’, English ST

DIRECTOR Henry Hathaway CAST Marilyn Monroe, Joseph Cotten, Jean Peters PANORAMA USA 1953 92’, English ST

06.02. / 20:30 CinemaxX 8

07.02. / 20:00 CinemaxX 8

09.02. / 15:30 CinemaxX 8

14.02. / 13:00 CinemaxX 8

14.02. / 17:00 Zeughauskino

12.02. / 21:30 Zeughauskino

It’s the American south in 1861 and Scarlett O’Hara is in love with her neighbour Ashley Wilkes. When he announces his engagement to his cousin, southern belle Scarlett marries in spite, but is soon widowed by the Civil War. Only adventurer Rhett Butler knows of her secret love for Ashley. And Atlanta comes under siege by the Union army. The film is a spectacle of superlatives, including the colours.

Production designer William Cameron Menzies received a special Oscar for his use of colour.

On a visit to friends, writer Richard Harland is introduced to beautiful, headstrong socialite Ellen Berent, who he has met on the train. He finally succumbs to her desire to marry him. But Ellen’s possessiveness puts a crimp in their life, as she begrudges the attention Richard shows his disabled brother and her sister, Ruth. Arguably the first film noir made in colour. Douglas Sirk was influenced by the film, Martin Scorsese is a fan, and echoes of it can be seen in Todd Haynes’ Far from Heaven.

At Niagara Falls, Ray and Polly Cutler meet another couple, Rose and George Loomis. Rose is an attractive, vivacious blond; her husband is an apparently depressed war veteran with a tendency to jealousy.

His feelings are not entirely unfounded – Rose actually is planning to send her spouse over the falls.

This thriller of marital discord and revenge does a brilliant job of combining the low-key, expressionist hard shadows of a film noir with the radiant displays of a Technicolor production.

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SINGIN’ IN THE RAIN

THE GARDEN OF ALLAH

DIRECTOR Gene Kelly, Stanley Donen CAST Gene Kelly, Donald O’Connor, Debbie Reynolds PANORAMA USA 1952 100’, English ST

DIRECTOR Richard Boleslawski CAST Marlene Dietrich, Charles Boyer, Basil Rathbone PANORAMA USA 1936 79’, English ST

THE THIEF OF BAGDAD

An Arabian Fantasy in Technicolor DIRECTOR Ludwig Berger, Michael Powell, Tim Whelan CAST Conrad Veidt, Sabu , June Duprez PANORAMA Great Britain/USA 1940 106’, English ST

07.02. / 21:30 Zeughauskino

08.02. / 13:30 CinemaxX 8

06.02. / 23:55 CinemaxX 8 08.02. / 11:00 CinemaxX 8

15.02. / 14:15 CinemaxX 8

10.02. / 22:00 Zeughauskino

13.02. / 23:00 Zeughauskino 15.02. / 14:30 Zeughauskino

It’s 1927 and the first sound film, The Jazz Singer, has just become a huge hit. So the next production for silent film idols and manufactured sweethearts Don Lockwood and Lina Lamont has to be a “talkie” too. But Lina’s voice is a horror. So Don’s new flame, chorus girl Kathy, is hired to dub her. When Lina finds out, she rebels. This musical makes no bones about putting the artificiality of its colours and its emotions on display. On an empty sound stage, Don reveals how movie magic works.

Domini Enfilden, who was raised in a convent, withdraws to North Africa after the death of her father to try to find herself. There, at the edge of the Sahara, she takes up with Boris Androvsky. But their happiness is abruptly interrupted when Boris reveals the secret he’s been keeping. The subtle use of colour and consciously soft contrast turn the location into a spiritual landscape onscreen that perfectly reflects the changing emotional states of the protagonists.

In Bagdad, the Grand Vizier Jaffar has King Ahmad cast into a dungeon and takes power for himself.

But Ahmad manages to escape with the help of a young thief, Abu. In Basra, the king falls in love with the sultan’s daughter. But his rival for her affections is none other than Jaffar, who uses magic powers to blind Ahmad and turn Abu into a dog. This „Arabian” fantasy developed utopian touches with its glamour, colour, happiness and optimism at a time when the whole world was trembling with fear.

THE THREE MUSKETEERS

THE WIZARD OF OZ

YOLANDA AND THE THIEF

DIRECTOR George Sidney CAST Lana Turner, Gene Kelly, June Allyson PANORAMA USA 1948 126’, English ST

DIRECTOR Victor Fleming CAST Judy Garland, Frank Morgan, Ray Bolger PANORAMA USA 1939 102’, English ST

DIRECTOR Vincente Minnelli CAST Fred Astaire, Lucille Bremer, Frank Morgan PANORAMA USA 1945 108’’, English ST

08.02. / 12:30 Zeughauskino

07.02. / 17:30 CinemaxX 8

09.02. / 19:30 CinemaxX 8

11.02. / 14:00 CinemaxX 8

14.02. / 14:30 Zeughauskino

15.02. / 21:30 Zeughauskino

In 1625 France, country bumpkin D’Artagnan hopes to join the king’s elite musketeers in Paris. After proving himself with brilliant swordsmanship in duels against three musketeers, he is duly admitted to the ranks. He soon becomes the leader of the gang of four sworn to challenge the machinations of Cardinal Richelieu. Along the way, D’Artagnan makes a deadly enemy of Richelieu’s confederate, the artful and nefarious Countess de Winter, once he learns of her shady past.

Young Dorothy (Judy Garland), full of yearning for “some place where there isn’t any trouble,” is literally whisked from rural Kansas to the magical and colorful Land of Oz. When she opens the door of her house after the tornado, she finds herself “somewhere over the rainbow”. The Wizard of Oz was a milestone in the history of colour film and marked a new era in movies. This cinematic mixture of musical, fairy tale, and fantasy has been delighting moviegoers around the world for 75 years.

A con man eavesdrops on young, beautiful, and wealthy heiress Yolanda as she prays for a guardian angel to help her manage her financial affairs. The following morning, he introduces himself to her “Mr. Brown”, guardian angel at your service. He manages to swindle Yolanda out of millions in bonds, but when he tries to pass the money to his accomplice, a certain Mr. Candle gets in the way. Set in a fictional South American country, this musical spreads a beautiful colourful carnival atmosphere.

www.cine-plus.de

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Wieland Speck Wieland Speck is the curator of Panorama since 1992.

In the 70s he started working on video and film projects and as a writer and publisher.

In his work he focuses on the men’s movement and homosexual identity.

He is a director, author and producer, has worked for several film institutions and events and taught at universities and film institutes.

by Philipp Schmidt

Can you point out some highlights of this year’s programme?

We have some amazing stories that are reflecting the change of the tides in queer emancipation. There is an American film called I Am Michael by Justin Kelly, which tells the real story of a queer activist from the 1980s who in the 1990s tried to become heterosexual with the help of god. The protagonist is portrayed by James Franco, who is the queerest straight person or the straightest queer person of today’s cinema landscape in a way. Franco actually won the TEDDY AWARD for Best Short in 2010 with ‘The Feast of Stephen’ – so he already asked if you can win the TEDDY AWARD twice. It was cute to hear that from a Hollywood Actor.

© Cara Howe

How is the atmosphere in the ‘Panorama’ at the moment?

It is very difficult to describe, but one thing is for sure: The programme is good! That’s for sure! Laughs. – The profile of our programme is different from other festivals’ programmes and it is one of the most important film programmes for independent cinema in the world.

Let’s start with the Special TEDDY AWARD...

Well, this year we have Udo Kier receiving the Special TEDDY AWARD. Kier is of course one of the icons of the early days of gay emancipation after the war, a person you could even call a gender bender in many ways, when you watch his films and see how he pushes certain boundaries. So I think we have a very nice setup for this year.

I Am Michael

the village and have a procedure where they welcome the new male person in the village. And the woman, from then on can live as a male member of the society. So they still have a category, male or female, for every person, however, under certain circumstances, you can switch from one category to the other.

And I think we shouldn’t forget about Eisenstein...

Eisenstein, who of course is on our TEDDY poster for a couple of years now, where you can see the icons of our queer family in a beautiful art work by Rinaldo Hopf. Eisenstein, the great film inventor’s Coming Out was turned into a film by Peter Greenaway, who is one of the big inventors of cinema himself. He made a fantastic film about Eisenstein’s time in Mexico. He was in Mexico because Hollywood grabbed him from Rus-

There are also movies from the Berlinale Competition on the TEDDY list.

Yes, of course! Vergine giurata (Sworn Virgin) by Laura Bispuri is an Albanian movie about a woman who loves to do all the things that traditionally men do. In the old Albanian culture there is a modus operandi for that; and what they do is: They bring together all the old men of

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What about the director’s cut of Studio 54?

Studio 54 – That’s an amazing story, which I have been involved in for years and years. The filmmaker, Mark Christopher, made wonderful short films and won the TEDDY AWARD in 1996 for ‘Alkali, Iowa’. Then he was discovered by producers and got the money for making his first big feature film and that was Studio 54. But the producers didn’t like what they saw and they took the film away from him to re-cut and also re-shoot parts of it. Christopher then consistently tried for 17 years to get the rights for the film. Finally he succeeded and reconstructed the movie from various sources, which were difficult to access. And we are happy to celebrate this success this year.

© Dan Muchina

sia, and gave him money to shoot a movie in Mexico – and he shot and he shot, but he never finished the film. The producers went crazy while he is leading a wild life, discovering his homosexuality.

Stories of our Lives

Are there African movies competing for a TEDDY AWARD? Yes! We have a semi-fictional film from Kenya: Stories of our Lives by Jim Chuchu. This movie shows us stories that were told by young gay, lesbian and trans* people. From interviews with those people, a script was created and the situations were re-enacted. So we get a good insight into the situation in Kenya which is of course as bad as in most other places in Africa.

Can you tell us something about the lesbian themed movies in the programme?

First of all, this is the strongest lesbian film year in the last nine or ten years!

I think we have to start with a beautiful love story from Lithuania called Sangailė (The Summer of Sangailé) by Alanté Kavaïté. It is a beautiful Baltic Sea love story about a young woman who is fascinated by aerobatics, but she is afraid of it at the same time. Of course this is an image of how she fascinated and scared by the world and her sexuality. And this young woman meets another woman, fascinated by aerobatics and they get together.

There is Dyke Hard by Bitte Andersson from Sweden, the whole film is so funny and so full of energy you can look forward to having a great party

Studio 54

Dyke Hard

with it. This is the kind of film you want every year. It is so entertaining, witty and sexy that you can’t look away once. Another film, which is much tougher, though, is Der letzte Sommer der Reichen (The Last Summer of the Rich) by Peter Kern, who is a famous Austrian director from the early Fassbinder times. Kern was never afraid of digging into the sleazy fields of life. In this film however, he tells a stylised, highbrow story of a very hard business woman who inherited all her money. And, well, she has many lesbian actions going on with nuns, casting couch girls and what else. It’s like a wild ride through a garden of the obsessions.

Apart from the big names there are also a lot of independent movies from all over the world competing for a TEDDY AWARD. Yes, I want to mention especially two movies from South-East Asia: How to Win at Checkers (Every Time) and Onthakan (The Blue Hour). Both have a rather natural approach to sexuality, no matter how it expresses itself. And also both movies deal with two brothers of which one is gay.

Onthakan by Anucha Boonyawatana is a romantic horror movie interwoven with a thriller and a love story, while How to Win at Checkers

by Josh Kim deals with friendship getting tested by prostitution and by the army in Thailand.

And in the Generation Section we have a wild film called Wonderful World End by Daigo Matsui about teenagers in Japan. It is quite a colourful story which gives an impression on Japan’s girl youth. It is about embarrassing stories between three friends and about their exploding sexualities and abstruse situations in their lives.

What are some of the highlights in the field of the documentary and essay films?

Well, the opening film of Panorama Special is Härte by Rosa von Praunheim who won the Special TEDDY AWARD last year together with Elfi Mikesch who photographed this film. It is about the karate world cham-

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FREITAG 06.02.2015 14:00 UHR

Härte

BERLINALE TALK

© Paraiso Production

pion, Andreas Marquardt, who was abused by his father and his mother alike; by his father in a physically damaging way and by his mother in a sexually and psychologically damaging way.

Two documentaries are standing out: Je suis Annemarie Schwarzenbach (I am Annemarie Schwarzenbach) by Véronique Aubouy and Feelings are Facts: The Life of Yvonne Rainer by Jack Walsh. The author Annemarie Schwarzenbach is like a canvas for the gender bended desires of many people today and she is one of the most beautiful human beings. The filmmakers from France had the idea to bring together young people to discover Annemarie Schwarzenbach within themselves. It’s an essay, a beautiful essay on the power of this person who is still inspiring on many intermediate levels.

Yvonne Rainer won the TEDDY 1997 for her film ‘MURDER and murder’, but in this movie we learn also all about her being one of the most prolific dancers and choreographers of the early sixties, who returned to dance in her old age, which is now.

@ Berlinale Lounge

mit

Audi Berlinale Lounge auf dem Marlene-Dietrich-Platz

Der diesjährige Special TEDDY AWARD Preisträger UDO KIER über sein Lebenswerk, seine Liebe zur Kunst, seine Arbeit mit internationalen Regisseuren, seine Verbindung zu Berlin und darüber, was ihm der Special TEDDY AWARD bedeutet.

Ein Pflichttermin für alle Filmfans.

DONNERSTAG 12.02.2015 20:00 bis 21:00 UHR

BERLINALE TALK

Je suis Annemarie Schwarzenbach

@ Berlinale Lounge

And of course we have a fantastic film about Rainer Werner Fassbinder in the programme: Fassbinder – lieben ohne zu fordern (Fassbinder – to love without demands) by Christian Braad Thomsen. The Danish filmmaker was a friend of Fassbinder and finally presents us the footage that he shot one lazy afternoon during the Film Festival in Cannes in a hotel room. You see Fassbinder hanging in an armchair, contemplating about work and life. Great sequences and an interesting new look on a filmmaker who does not stop to inspire despite all the things you could say about him.

“Die Jahre mit Fassbinder” mit und

INGRID CAVEN UDO KIER

Audi Berlinale Lounge auf dem Marlene-Dietrich-Platz

And there will also be paid homage to Fassbinder at the TEDDY AWARD GALA, right?

Exactly, this year Fassbinder would have turned 70. Therefore the TEDDY AWARD is paying tribute to him and his works. He is a filmmaker that had so much to say that he remains an object of fascination for filmmakers all over the world, queer and straight alike. So we will remember this great and controversial person while he is looking down on us from the TEDDY poster.

Ingrid Caven verband mit Fassbinder eine lebenslange Freundschaft, eine Wahlverwandtschaft. Udo Kier wurde die internationale Kraft, die aus dem Fassbinder-Clan hervorging. Ein Austausch über prägende Jahre ihres Lebens im Zeichen eines deutschen Ausnahmeregisseurs.

Well, after all your information we are looking forward to watch some movies and go to the TEDDY GALA! – Thank you for the interview!

My pleasure! www.cine-plus.de

UDO KIER

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Death does not provide the answer to that, but it invites us to reflect on it. And to find words.

On the website we’ve collected many such attempts to find the right words – by filmmakers, artists, writers, programmers, scholars – who knew Suzy, who were lucky enough to have been her friends, to have worked with her. These include (some without words): Karim Aïnouz, Bruce LaBruce, Monika Treut, John Badalu, Stefanie Schulte Strathaus, Lauren Howes, Natasha Mendonca, Shari Frilot, Marc Siegel, Tobaron Waxman, Skadi Loist, Rosalind Galt, Karl Schoonover, Kam Wai Kui, Liza Johnson, Susanne Sachsse, LSF Hamburg, Océan LeRoy, Sarah Schulman / Jim Hoberman (former MIX NYC), Yair Hochner, Kristian Petersen, Jürgen Brüning, Wieland Speck – and the Panorama and the TEDDY team.

On 9th January of this year Suzy Capó decided to end her life. She was among the epicenters of Queer Cinema: a strong, passionate, flamboyant, generous, spirited, resourceful, creative ball of energy, circling many universes, connecting worlds, people, films, lives and everything else, that always just barely fit into her gigantic suitcase that she took wherever she went. Suzy was the co-founder and for many years the artistic director of MIX Brazil, the largest LGBT film festival in Latin America, she programmed and curated for PopPorn Festival, the Asian Film Festival in São Paulo, Rio Int’l Film Festival, the São Paulo Int’l Short Film Festival, and the Latin American Film Festival in São Paulo. In 2009, Suzy Capó founded Festival Filmes, the first LGBT film distribution company in Brazil and most recently she tode in a key position in creating the Brazilian version of the TEDDY: the Felix, which was presented for the first time at the Festival do Rio in 2014. She was a member of numerous film juries, including of course the TEDDY Jury in 2004. She was also a journalist, an actress, and a cultural producer in the truest sense of the word. She seemed to possess an endless capacity to create, to host, to facilitate: festivals, films, artists, filmmakers, transnational exchange.

She knew how to party, and she knew how to work, she stood her ground against many odds (including, let’s face it, a male dominated cinema world), she was compassionate and determined, wild and committed, and, as filmmaker Liza Johnson said, she wore a Karl Lagerfeld gown in the best – i.e. the least appropriate – scenarios. As another friend put it: “That kind of baller style is hard to come by.”

Suzy was one of a kind – irreplaceable. Her death leaves not just one gaping hole, but many, in so many places, in so many people’s lives. And especially here, in Berlin, at the festival. She was such a central part of it, and she was loved and appreciated more than she probably knew.

Her death leaves us struggling with her absence, her decision, and the deep sense of despair that extends from it, our own failures, longings, struggles, and our hopes and strivings for a different – queer – kind of sociability; how to be enduring collaborators, lovers, family, friends.

Nanna Heidenreich

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© Katherine Fairfax Wright - Call Me Kuchu

The David Kato Vision & Voice Award: Celebrating Individuals Who Uphold the Sexual Rights of LGBTI People Around the World

The David Kato Award has been given away for the first time in 2012 to Maurice Thomlinson. Thomlinson, an attorney and LGBTI activist, was born 1971 in Montego Bay, Jamaica. After finishing his law degree, he supported the idea of human rights and became an activist to change discrimnatory laws. In 2009 he became legal advisor for the international advocacy organization AIDS-Free World and fought to improve the situation of homosexuals around the globe and especially in Jamaica.

After his marriage with Canadian Tom Decker in August 2011, Thomlinson received death threats and began living in exile in Toronto, Canada.

Founded in commemoration of the life and work of renowned Ugandan human rights activist David Kato, the David Kato Vision & Voice Award honors activists who demonstrate courage and outstanding leadership in advocacy for LGBTI sexual rights.

As the Litigation & Advocacy Officer with the Ugandan LGBTI rights organization Sexual Minorities Uganda (SMUG), David Kato campaigned tirelessly for human rights, and for the rights of lesbian, gay, bisexual, transgender and intersex (LGBTI) Africans in particular. David spoke truth to power, both at home and abroad, and his numerous contributions to key policy issues are a testimony to his tireless advocacy efforts. In January 2011, David’s life was cut short by a brutal act of violence, a tragedy that will linger in the hearts of his colleagues in the global LGBTI community for years to come.

Ali Erol, the David Kato Award winner in 2013, founded the queer-rights Kaos GL organization in 1994, the first of its kind in Turkey. Since he began his work in LGBTI rights, Ali has had to fight against many forms of police and state pressure, including detentions and numerous court cases. LGBTI people remain largely hidden in Turkey as they continue to be subjected to humiliation and violence. The Trans Murder Monitoring project shows that Turkey has by far the most reported murders of trans people in Europe, with 29 reported since January 2008.

“David Kato was a hero not just to LGBT Ugandans, but to all Ugandans and to all supporters of human rights worldwide,” said Frank Mugisha, Executive Director of SMUG. “The death of David will only be honored when the struggle for justice and equality is won.”

The 2014 David Kato award went to the 75-year old Cambodian transgender activist Sotheavy Sou. In the period of the Khmer Rouge regime Sotheavy was harshly persecuted by being tortured and repeatedly raped. After the fall of the regime, her first involvement with human rights advocacy began in 1985. In 1999, Sotheavy established the Cambodian Network for Men Women Development (CMWD), the first Cambodian NGO to support LGBTI people. Because of her persistent efforts against LGBTI discrimination, the Cambodian Prime Minister Hun Sen called for the inclusion of LGBTI in all working fields during a speech in 2012.

Following David’s death, his colleagues from around the world came together to establish the David Kato Vision and Voice Award in honor of his life and legacy. Now in its third year, the DKVVA is awarded annually to an individual who strives to uphold the numerous dimensions of sexual rights for LGBTI people, particularly in hostile contexts where LGBTI people face rejection, marginalization, isolation, and persecution. The award supports the recipient with a one-time grant of $10,000 to continue their vital work.

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HOST: Jochen Schropp

© VOX / Stephan Pick

Jochen Schropp is the host of numerous German TV-Shows. In 2011, he was awarded the Bavarian TV Prize. In 2010, 2011 and 2014, he was nominated for the German TV Prize in the category Best Entertainer. He is also a successful actor: The series Sternenfänger, marked his breakthrough role. Among many other appearances on television, he played the pathologist in the crime series Polizeiruf 110. For his role in Zwei Engel für Amor,he was nominated for the Grimme Prize. Jochen Schropp hosts many charity-events like the Kölner Aids-Gala and the Rosenball in Vienna. He is the host of the TEDDY AWARD Gala since 2012.

Ingrid Caven Ingrid Caven embodies many roles: She is a singer, the hero of a novel, an actress. And she was one of the closest confidents of Rainer Werner Fassbinder, to whom she was married for two years.

Fassbinder called their relationship a “Wahlverwandtschaft”. As a student, Ingrid Caven met the director in Munich and joined his antiteater-group. She appeared in more than 40 Fassbinder-productions. In the late Seventies, she came to fame as a chanson singer in Paris, with compositions

by Peer Raben. Sophisticated changes of voice, a black Yves Saint Laurent velvet robe, and her passionate performance made her an icon of chanson. In 2000, the novel Ingrid Caven by Cavens life-partner Jean-Jacques Schuhl was published. The novel, which describes the life of Caven, was awarded with the Prix Goncourt and turned Ingrid Caven into a true cult figure.

POP:SCH Whether it’s a hair fetish, the romance between two police officers or the general obsession with beauty, POP:SCH are singing about it. The foursome from Vienna produces Electro-Pop with queer-feminist contents. They mix electronic music of the 80s with hymnic sing-along-pop and intelligent lyrics. Their music is catchy without being simple, their lyrics aggressive without being offensive. POP:SCH describe themselves as a mixture of Kim Wilde and Peaches.

Their first album TOP OF THE POP:SCH came out in 2011. Their new single shut up haters is an anthem against homophobia, directed to all the “small-minded hypocrites” out there.

Straight from the menagerie of the Cirque de Demain in Paris, the figure cycling duo Felix and Flow hits the stage at the Komische Oper Berlin with fine cycling artistry of the superior sort, featuring distinctive elements unparalleled in the international Varieté scene. This unique act was forged in collaboration with the BASE Berlin talent works, which has been responsible for a number of artistic highlights seen onstage at the TEDDY AWARDS in recent years.

www.cine-plus.de

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© Felix & Florian

Felix and Flow

Agnes Zwierko

Privat

The mezzo-soprano Agnes Zwierko was born in Warsaw and initially studied computer engineering and electronics before she dedicated herself to opera singing at the musical academy Fryderyk Chopin. She sang in all the big opera houses of Poland as well as in international houses such as the Teatro Colón in Buenos Aires, La Scala in Milan, or the Royal Opera House in London. The repertoire of Agnes Zwierko is big and versatile, the Amneris in Aida, Mrs. Quickly in Falstaff, and the Eboli in Don Carlo are just a small selection of her roles. This season Agnes Zwierko is a guest soloist at the Komische Oper Berlin, where she plays the Tangolita in the iconic operetta Ball im Savoy.

Katharine Mehrling

© Jim Rakete

Whether as Evita Peron, Edith Piaf or Fanny Brice, Katharine Mehrling shines in every role. Before she gave her stage debut at the Londoner West End in a production of Hair, she studied acting and musical theatre in London and New York. She played the leads in Some Like It Hot, Die Dreigroschenoper and Les Miserables. Mehrling played Sally Bowles more than 250-times in the Cabaret production at the Bar jeder Vernunft in Berlin. French chanson is her great love and for her first solo-show she followed the tracks of Edith Piaf in Paris. Katharine Mehrling is internationally known for her great voice and her touching acting. She won the Prize of the Deutsche Bühnenverein, the Lale-Andersen-Prize, and was awarded the theatre prize Goldener Vorhang twice.

© Kai Uwe Schulte Bunert

Orchester der Komischen Oper Berlin The two soloists will be accompanied by the Orchester der Komischen Oper Berlin. In a segment from Barrie Kosky’s mise-en-scène of Jacques Offenbach’s La belle Hélène (The Beautiful Helen), the orchestra and dancers together will demonstrate what overwhelming star power is gathered in the Komische Oper’s ensemble, aside from great voices. Peter Christian Feigel conducts, Otto Pichler choreographed.

The TEDDY AFTER SHOW LOUNGE @ Komische Oper showcases the newly founded L’ensemble transes continentales, who will take us through an evening of our dreams to the tune of music from five continents. And DJ ­Duo Das blaue Wunder feat. Magnus und Norbert will spin decades of collected vinyl delicacies in a musical selection once could almost call eclecticist.

After gala and lounge, party animals can take our party­shuttle­bus to Neukölln and the TEDDY AWARD Closing Party @ SchwuZ and dance on until noon. Gloria Viagra welcomes TEDDY guests at her legendary “Partysane”. Live act POP:SCH and DJs Gloria Viagra, Pa$cha, Black Cracker & Friends, Disco Gessner and hintergrundrauschen will keep everyone in the mood.

Entrance to the TEDDY Closing Party is included with the Gala ticket.

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Acknowledgement / Dankeschön The TEDDY Foundation thanks its patrons and prize money donators.

Without your kind support our work would not be possible!

Der TEDDY e.V. bedankt sich bei seinen Mäzenen und Preisgeldspendern, ohne deren freundliche Unterstützung unsere Arbeit nicht möglich wäre!

Apotheke am Viktoria-Luise-Platz / Berghain / Stephan Binder / Böhme, Lipp, Lutz – Zahnärzte / Jürgen Daenens / Das Finanzkontor / Wolfgang Erichson, Bürgermeister Heidelberg / Serafin Fernández Rodriguez / gayParship / GENFILMS Production Ltd. / Grüne Apotheke / Holzfachzentrum Potsdam / Drs. Jessen & Kollegen / Michael Harckensee / Härting Rechtsanwälte / Michael Kasten / Klaus Koch / Raimond Krúze / Evgeny Kulyushin / Matthias Landwehr / Ralf Gregor Lipus / Bork Melms / Ralph Morgenstern / OUT tv Media / Fred Peemöller / Queerlesque.de / Alexander Rosenberg / Pierre Sanoussi-Bliss / Pro-Fun Media GmbH / Quatsch Comedy Club / Jan Schneider / Klaus Schrader / Christian Schulz / Michael Schweizer / Dr. Paul Skidmore / Ulf Spengler / Frank Strobel / Dario Suter / Olaf Völzke

Special thanks go to CinePlus Media Service GmbH & Co. KG / Internationale Filmfestspiele Berlin/KBB / medienboard Berlin-Brandenburg / Harald Christ / Buchladen Eisenherz / Regenbogenfonds e.V. / Kino International - Yorck Kino GmbH / elledorado e.V. / Medservice Stockmann / MB-Finanzberatung Gaby Büttner / Oktoberdruck / Myers Hotel / Schwermetall Schmuckdesign / partyworks / Gloria Viagra´s Partysane / SchwuZ

Venues / Veranstaltungsorte Akademie der Künste, Hanseatenweg 10, 10557 Berlin Arsenal, Potsdamer Str. 2, 10785 Berlin Berlinale Palast, Marlene-Dietrich-Platz 1, 10785 Berlin CinemaxX, Potsdamer Str. 5, 10785 Berlin CineStar, Potsdamer Str. 4, 10785 Berlin Colosseum, Schönhauser Allee 123, 10437 Berlin Cubix, Alexanderplatz Rathausstr. 1, 10778 Berlin Delphi Filmpalast, Kanstr. 12, 10623 Berlin Filmtheater am Friedrichshain, Bötzowstr. 1-5, 10407 Berlin

Friedrichstadtpalast, Friedrichstr. 107, 10117 Berlin HAU Hebbel am Ufer (HAU1), Stresemannstraße 29, 10963 Berlin Haus der Berliner Festspiele, Schaperstraße 24, 10719 Berlin Haus der Kulturen der Welt, John-Foster-Dulles-Allee 10, 10557 Berlin Kino International, Karl-Marx-Allee 33, 10787 Berlin Komische Oper Berlin, Behrenstr. 55-57, 10117 Berlin Neues Off, Hermannstraße 20, 12049 Berlin Schwuz, Rollbergstr. 26, 12053 Berlin Zoopalast Berlin, Hardenbergstr. 29a, 10787 Berlin

Credits / Impressum The Programme Guide for the 29th TEDDY AWARDs appears on the occasion of the 65th Berlin International Film Festival 2015, published by maxwell.smart in cooperation with TEDDY e.V. and with the kind support of the Berlin International Film Festival/KBB. Das Programmheft zum 29. TEDDY AWARD erscheint anlässlich der 65. Internationalen Filmfestspiele Berlin 2015, herausgegeben von maxwell. smart in Zusammenarbeit mit dem Teddy e.V. und mit freundlicher Unterstützung der Internationalen Filmfestspiele Berlin/KBB.

Publishers / Herausgeber Elser Maxwell (V.i.S.d.P.) und Thomas Malz TEDDY AWARD Produktion Lützowufer 12, 10785 Berlin Tel: +49-30-26480-100 www.teddyaward.tv

Editor / Redaktion

Philipp-Sebastian Schmidt

Contributing authors / Gastautoren

Egbert Hörmann, Dieter Kosslick, Katja Nicodemus, Michael Müller, Nanna Heidenreich

Production managers / Herstellungsleiterinnen Lisa Kirchner und Eva-Maria Krusch

Special Thanks to / Besonderer Dank an

Klaus Mabel Aschenneller, Melanie Ehrhardt, Marco Urizzi von Plach, Paz Lazaro, Bartholomew Sammut, Wieland Speck, Michael Stütz, Sascha Wiswedel

Translation / Übersetzung

TEDDY 29 ART WORK

Advertisements / Anzeigen

TEDDY 29 Poster Design

Press relations / Presse

Design & Layout / Gestaltung & Satz

Dr. Paul Skidmore, Carrie Roseland

Rinaldo Hopf

Eva-Maria Krusch

Cabine

Marie Gutbub

Cabine.co.uk / Olivier Husson

Printed by / Druck WirMachenDruck.de

Copyrights / Rechte

The digital and analogue reproduction, storage, processing and any usage of these texts and images require a written approval from the publisher.

Die digitale und analoge Vervielfältigung, Speicherung, Weiterverarbeitung sowie jegliche Nutzung der Texte und Bilder bedürfen einer schriftlichen Genehmigung durch den Herausgeber.

Distribution / Vertrieb

In Berlin, Potsdam, and all Berlin International Film Festival venues. In Berlin und Potsdam und allen Veranstaltungsorten der Berlinale.

Disclaimer of Liability / Haftungsausschluss

We can not guarantee any of the published dates. All dates and information listed were last updated on January 22nd, 2015.

Für die veröffentlichten Termine können wir keine Garantie übernehmen. Alle Termine und Informationen entsprechen dem Stand vom 22. Januar 2015.

Photo Credits / Bildnachweise

If not otherwise noted, all image copyrights belong to the Berlin International Film Festival (IFB). Usage of these images is exclusively permitted for editorial purposes in the context of film coverage. We thank all owners of photos for having approved our use of their photos. If, despite our intensive research, we are in breach of photo copyrights, we ask for your forbearance.

Soweit nicht anders gekennzeichnet, liegen die Bildrechte bei den Internationalen Filmfestspielen Berlin (IFB). Die Verwendung der Bilder erfolgt ausschließlich zu redaktionellen Zwecken im Rahmen der Filmberichterstattung.

Wir danken allen Rechteinhabern für die Freigabe des Bildmaterials. Sollten trotz intensiver Recherche Bildrechte verletzt worden sein, bitten wir um Nachricht.

www.cine-plus.de

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