TEDDY AWARD Programme Guide 2016 by TEDDY AWARD, Queer Film Award of Berlin International Film Festival

message from

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

30 Years of TEDDY: The Others

30 Jahre TEDDY: Die Anderen

Teddy, 30, and Bear, 66, are – in the context of the Berlinale – best friends, maybe also because they are both different from the others. The mutual, willingly overvalued otherness has been fascinating both of them and has been the driving force behind this creative and therapy‐free long‐term relationship. “Different from the Others” is the name of a movie gem from 1919, which will be screened this year at the Berlinale as part of the “TEDDY 30” programme in honour to the TEDDY AWARD’s 30th anniversary. This newly restored work of Richard Oswald is considered to be the first gay film in history ever.

Teddy, 30, und Bär, 66, sind – im Berlinale‐Kontext – beste Freunde, vielleicht auch, weil sie beide anders sind als die Anderen. Das gegen‐ seitige, gerne überbewertete Andersseins fasziniert beide – und bil‐ det den Motor dieser kreativen und therapiefreien Langzeitbeziehung. „Anders als die Andern“ lautet der Titel eines Filmjuwels aus dem Jahr 1919, den die Berlinale in der Reihe „Teddy 30“ zum 30. Geburtstag des TEDDY AWARDS präsentiert. Das frisch restaurierte Werk von Richard Oswald gilt als erster schwuler Film der Filmgeschichte.

Anniversaries are also important rituals of remembrance. Mankind is well known as a master in oblivion. The paragraph 175, which criminalized homosexuality in post war Germany, was still imposed when the first TEDDY AWARD was presented in 1987. The victims of this law are still not rehabilitated. Yet another reason why the most important queer movie award in the world is also always a forum for human rights. By awarding Christine Vachon with the SPECIAL TEDDY AWARD, we will honour a strong woman in the tough film industry. The producer of a dozen TEDDY‐winners and all of Todd Haynes’ works (“Carol”) is the true “Velvet Goldmine”.

Jubiläen sind auch wichtige Rituale der Erinnerung. Im Vergessen ist der Mensch bekanntlich ein Meister. So existierte bei der ersten TEDDY‐Ver‐ leihung im Jahr 1987 noch der Paragraf 175, der Homosexualität auch im Nachkriegsdeutschland zum Verbrechen machte. Die Opfer dieser Rechtsprechung sind bis heute nicht rehabilitiert. Ein Grund mehr, wa‐ rum der weltweit bedeutendste queere Filmpreis immer auch ein Fo‐ rum für Menschenrechte und Mutmachen ist. Mit der Verleihung des SPECIAL TEDDY AWARDS an Christine Vachon wird eine starke Frau im harten Filmbusiness geehrt. Die Produzentin von einem Dutzend TED‐ DY-Gewinner und aller Filme von Todd Haynes („Carol“) ist eine wahre „Velvet Goldmine“.

Good luck to the first Queer Academy Film Summit that wants to extend the global network of queer festival and film makers. On February 19th, 2016 there will be a party at STATION-Berlin, wild and colourful, with heart and soul, broadcasted live by ARTE cinema. And it is great this way, because fear eats the soul.

Viel Erfolg wünsche ich dem ersten Queer Academy Film Summit, das die globale Vernetzung der queeren Festival‐ und Filmemacher ausbauen möchte. Am 19. Februar 2016 wird in der STATION-Berlin wild und bunt gefeiert, live mit ARTE Cinema – und mit Leib und Seele. Das ist auch gut so, denn Angst essen Seele auf.

Yours Dieter Kosslick The director of the Berlin International Film Festival

Ihr Dieter Kosslick Direktor der Internationalen Filmfestspiele Berlin

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message from

Michael Müller Governing Mayor of Berlin Regierender Bürgermeister von Berlin

This year the TEDDY will be awarded for the 30th time. Congratulations on this anniversary to everyone involved!

Der TEDDY AWARD wird in diesem Jahr zum 30. Mal vergeben. Herzli‐ chen Glückwunsch allen Beteiligten zu diesem Jubiläum!

The TEDDY AWARD combines tributes to artistic quality with political concerns in order to counteract all forms of homophobia and to stand up for freedom and for the acceptance of different lifestyles. The founders started small. But they showed a lot of patience, and it is impressive to see how over the decades the TEDDY has established itself as an important, internationally recognized award at the Berlinale.

Der TEDDY AWARD verbindet die Ehrung künstlerischer Qualität mit dem politischen Anliegen, allen Formen der Homophobie entgegenzuwirken und sich für die Freiheit und für die Akzeptanz unterschiedlicher Lebens‐ weisen stark zu machen. Die Initiatoren haben damals klein angefangen. Aber sie haben einen langen Atem bewiesen und es ist beeindruckend zu sehen, wie sich der Preis über die Jahrzehnte hinweg als bedeuten‐ de Auszeichnung im Rahmen der Berlinale und mit internationaler Aus‐ strahlung etabliert hat.

Nevertheless: tolerance and acceptance – basic values of a diverse society – must be achieved and defended again and again, especially in times like these when we have many people from very different cultures coming here. So in 2016, I hope the TEDDY AWARD will once again be a powerful sign of cultural openness and inspire filmmakers in Berlin and around the world.

Dennoch: Toleranz und Akzeptanz – diese grundlegenden Werte einer vielfältigen Gesellschaft müssen immer wieder neu errungen und vertei‐ digt werden, gerade auch in diesen Zeiten, in denen viele Menschen aus sehr unterschiedlichen Kulturen zu uns kommen. So wünsche ich dem TEDDY AWARD 2016, dass von ihm wieder ein kraftvolles Zeichen der Weltoffenheit ausgeht, und dass er über Berlin hinaus Filmemacher in aller Welt inspiriert.

With this in mind, I would like to offer my sincere congratulations to the 2016 TEDDY AWARD winners. My thanks go to all those who contribute to this event every year – the organizers, donors and sponsors, all the volunteers and the members of the jury. I wish the audience an entertaining award show that, at the same time, gives people the courage to work for a tolerant and free society.

In diesem Sinne übermittle ich den Preisträgern des TEDDY AWARDS 2016 meine herzlichen Glückwünsche. Mein Dank gilt all denen, die die‐ ses Ereignis alljährlich ermöglichen – den Veranstaltern, den Spendern und Sponsoren, allen ehrenamtlichen Helferinnen und Helfern sowie den Mitgliedern der Jury. Dem Publikum wünsche ich eine unterhaltsame Gala, die zugleich Mut macht, sich für eine tolerante und freie Gesell‐ schaft zu engagieren.

Ihr Michael Müller Regierender Bürgermeister von Berlin

Michael Müller Governing Mayor of Berlin

30. TEDDY AWARD / www.teddyaward.tv

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Ein Rückblick auf 30 TEDDY AWARDS by Wieland Speck

ren dagegen, manche ignorierten es schlichtweg und einige sagten: „Dort müssen wir hin!“ Innerhalb von fünf Jahren wussten alle, die mit schwul-lesbischen Filmen zu tun hatten, dass dies ihre erste Adresse war. Mit der Zeit wurden die Filme besser, Volumen, Auswahl und Qualität stiegen und wir wurden zu einem Zentrum für queere Filme.

Wenn man mich fragt, warum wir in den 80er Jahren mit einem queeren Filmpreis angefangen haben, dann liegt die Antwort nicht in der Vergangenheit, sondern in der Gegenwart, im Filmprogramm zum 30. TEDDY AWARD, denn es waren schon damals die Filme, die die Idee evozierten. In den späten 1970er Jahren waren queere Filme sehr dünn gesät, es gab nur einige Leuchttürme, alle fünf Jahre einen. Erst die 80er haben eine Tür aufgemacht und das vorangegangene Jahrzehnt hinter sich gelassen, das Jahrzehnt, in dem filmisch das Opfertum noch die allbestimmende Konnotation für alles Queere war. Was sich hinter der Tür befand, war eine kämpferische Haltung und der Wille zu einem unabhängigen Kino, mit dem Manfred Salzgeber bei der Berlinale begann.

In den Abendveranstaltungen des Festivals haben wir dem Publikum gesagt, dass es anschließend im Buchladen Prinz Eisenherz weitergeht, wo wir dann die ganze Nacht Filme schauten und diskutierten. Prinz Eisenherz, das intellektuelle, kulturelle Schwulenzentrum, bot sich als der natürliche Ort für unsere ‚Nachtcafés‘ an. Unter den Zuschauern, die sich dort trafen, befanden sich von Beginn an viele Film- und Festivalmacher – und genau genommen war dies der Vorläufer vom jetzigen Queer Programmers Meeting, zu dem mittlerweile jährlich mehr als 200 Menschen aus der ganzen Welt kommen, und der Queer Academy.

Manfred hatte als Mitgründer des ‚Internationalen Forums des Jungen Films‘ und als Kinomacher bereits Filme gezeigt, die sonst keiner gezeigt hat. Im Politkrach mit dem damaligen Forum verließ er jedoch im bleiernen, deutschen Herbst 1977 Berlin und ging nach Amsterdam. Zwei Jahre später holte Moritz de Hadeln, der neue Leiter der Berlinale, ihn als Programmer zurück, um die Info-Schau als eigenständige Sektion aufzubauen, aus der 1986 das heutige Panorama hervorging. Selbst wurde ich von Manfred 1982 dazu geholt. Er hatte 1981 meinen ersten Film gezeigt und zu zweit machten wir ab da die gesamte Arbeit.

Trotz des Zulaufs und des Erfolgs war es noch immer eine sehr frustrierende Situation, in der wir uns befanden. Während der Berlinale zeigten wir wundervolle Filme und hatten ein großartiges Festival, aber die Presse schrieb nicht darüber, die Filme fanden keinen Verleih. Wir bekamen zwar mehr Aufmerksamkeit für den Fokus auf queeres Kino. Wir richteten uns damit auch nicht mehr nur an queere Filmleute, sondern ebenso an die Mainstreammedien – die uns aber weiterhin übersahen. Damit konnte ein Film zwar ein Festivalerfolg werden, verschwand danach aber wieder. Das musste sich ändern! Und so wurde 1987 zum ersten Mal der TEDDY AWARD verliehen. Um die mediale Aufmerksamkeit zu steigern, um die Filme sichtbarer zu machen, um queeres Leben zu zeigen und mehr Raum zu erkämpfen.

Manfred setzte von Anfang an mit seiner Erfahrung und seiner politischen Einstellung ein scharfes Independent-Programm durch und dazu gehörte auch eine möglichst große Anzahl an schwulen und lesbischen Filmen. Ein Indieprogramm mit diesem Schwerpunkt, so etwas gab es vorher noch nicht. Viele Menschen waren davon überrascht, viele wa-

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Widerstand dagegen interessierte uns nicht. Der Preis wurde einfach vergeben! Und bis es soweit war, wusste auch niemand etwas davon. Inzwischen nannten wir die Leute, die sich bei Eisenherz trafen, Int’l Gay&Lesbian Filmfest Association IGLFFA, und am Ende des Festivals fragte ich diese Filmfresser, welches ihrer Meinung nach der beste Spielfilm und welches der beste Kurzfilm war: Pedro Almodóvars ‚La ley del deseo‘ (Das Gesetz der Begierde) sowie Gus Van Sants ‚Five Ways to Kill Yourself‘ und ‚My New Friend‘. Anschließend habe ich dann Teddy-Stoffbären gekauft und per Post an die Gewinner verschickt. Damit gab es den Preis – und die beiden ersten damals noch völlig unbekannten Preisträger waren begeistert. Schon im zweiten TEDDY-Jahr fand die Verleihung im SchwuZ statt und zu Anfang des Festivals habe ich den Leuten bereits gesagt, dass diejenigen, die sich alle Filme anschauen, über die Preisvergabe abstimmen können. Die ersten Jurys waren also Menschen, die alle TEDDY-relevanten Filme geguckt hatten. Ab Mitte der 90er Jahre wurde aber sowohl die Zahl der Filme als auch der regelmäßigen Zuschauer zu groß, sodass wir seit 1997 eine unabhängige internationale Jury haben, die immer aus Festivalprogrammern besteht. Über die Jahre hat auch der TEDDY AWARD ein neues Aussehen bekommen. Aus dem anfänglichen Stoffbären ist eine Statue geworden, die Ralf König entworfen hat und die von der Juwelierin Astrid Stenzel hergestellt wird. Der TEDDY, eine runde, geschlechtlich nicht festlegbare, gewichtige Figur mit einem sanften Lächeln, sitzt auf einem Granitstein, einem Straßenstein und erinnert damit an die Zeit, aus der wir kommen, an die 70er Jahre. An die Zeit, in der man auf den emanzipatorischen Demonstrationen, den Vorläufern der CSDs, noch von Rechten angepöbelt wurde. Ach, auch heute noch kann man das traurige Unglück haben, zusammengeschlagen zu werden. Wenn es aber mal wieder nötig wird, hat man mit dem TEDDY AWARD einen Stein zum Schmeißen. Wir wünschen uns das natürlich nicht, aber wir würden lieber die eigene Freiheit mit Steinen verteidigen, als uns friedlich zur Schlachtbank führen zu lassen. Früher hieß es nach Arturo Ui „Der Schoß ist fruchtbar noch, aus dem das kroch!“ und leider scheint es immer mehr, dass das auch aktuell noch gilt. Wichtig ist, und war seit seiner Geburt, dass der TEDDY AWARD zwar aus dem Panorama kommt, aber nicht nur im Panorama vergeben wird, sondern immer schon sektionsübergreifend die gesamte Berlinale umfasste. So hat der TEDDY seit seinem Bestehen, ja sogar davor schon, auch die Berlinale geprägt. Bei der Etablierung des TEDDYS als Preis der Berlinale wurde nach ein paar Jahren auch der langjährige Leiter des Festivals, Moritz de Hadeln, sehr unterstützend. Mitte der 90er Jahre erkannte das Filmfestival den TEDDY AWARD an und führte ihn erstmals in der Liste der unabhängigen Preise. Mittlerweile sind wir „der queere Filmpreis der Berlinale“, wie Dieter Kosslick sagt. Die Sichtbarkeit, die wir in den Medien und im Festival erkämpften, sollte auch mit der Preisvergabe nach außen getragen werden. Daher war es für uns schon früh in der Geschichte des TEDDYS wichtig, nicht mehr nur in schwule Veranstaltungsorte zu gehen, sondern raus aus der schwulen Szene zu treten und legendäre Locations wie das Metropol, den Dschungel oder das Kant-Kino zu ‚besetzen‘. Seit zehn Jahren, seit dem 20. TEDDY gibt es sogar eine Übertragung der Gala auf ARTE. Wer hätte das bei der ersten Verleihung gedacht!? Highlights gab es in der 30-jährigen Geschichte dieser glamourösen Preisverleihungen einige. So war bei der elften Preisvergabe, die im Post-Punk-Tempel SO36 stattfand, der Raum viel zu klein für all die Leute, die dabei sein wollten. Wir hatten geplant, alles in die umliegenden Bars auf der Oranien-Meile zu übertragen, die Ausstrahlung funktionierte aber nicht, sodass immer mehr Menschen in den Veranstaltungsort drängten. Viele, die draußen standen, waren sauer, dass sie nicht mehr reinkamen. Und dann kam Moritz de Hadeln! Der erste Besuch eines Festivalleiters auf unserer Verleihung. Er zwängte sich mit seinem Presseattaché durch die Masse von Menschen, bekam Panik und wollte wieder hinaus. Aber ich habe von hinten geschoben und ihn nicht gehen lassen! Zum Schluss ging alles gut aus und wir hatten eine tolle Veranwww.cine-plus.de

staltung, bei der Nan Goldin und Rob Epstein ausgezeichnet wurden. 2007 hatten wir dann Javier Bardem mit riesigen künstlichen Wimpern auf der Bühne! Erst am Vorabend hatte ich ihn und Isabel Coixet gefragt, ob sie jeweils einen TEDDY AWARD überreichen, woraufhin beide direkt zusagten. Bardem war jedoch davon ausgegangen, dass es sich um eine almodoveske Veranstaltung handelt und kam im Fummel zur Verleihung. Als er feststellte, dass er in einer politischen Preisvergabe sitzt, hat er sich schnell wieder abgetakelt, aber die Eyelashes blieben dran, da sonst alles verschmiert wäre – also trug er sie stolz auf der Bühne. Und Krisen? Na ja, jeder TEDDY ist eine Krise. – Aus der man gestärkt hervorgeht. Diese Stärke braucht der TEDDY, um auch weiterhin für Aufmerksamkeit, Sichtbarkeit und queere Emanzipation zu wirken. Zu Beginn waren es vor allem westliche Filme und Länder, die davon profitierten, in denen wir etwas erreichten – dann zog es weitere Kreise. Und selbst wenn wir gerade einen Backlash erleben – das Erreichte ist enorm, man fühlt sich fast verwöhnt durch all die weitreichenden Änderungen und Verbesserungen. Aber: Dann sieht man, wie schlecht es den Nachbarn geht. Wie queere Menschen in Afrika und Asien noch immer verfolgt, gefoltert, eingesperrt und getötet werden. Dort sieht man gerade kein Licht am Ende des Tunnels und merkt wie spürbar der TEDDY weltweit wirkt, dass es bei uns nicht nur um Meinungen zu Filmen geht, sondern um fundamentale Menschenrechte, die wir erkämpfen und verteidigen. Damit erledigt sich auch die immer wiederkehrende Frage, ob es den TEDDY überhaupt noch braucht! Den Bedarf sieht man auch daran, dass immer mehr Festivals die Idee eines queeren Filmpreises aufgreifen, worüber wir uns sehr freuen. Dazu gehören neben Cannes und Venedig das Festival Molodist in Kiew als allererstes. Dort wurde 2014 von Rechtsradikalen ein Kino angezündet, während Panorama-Organisator Michael Stütz als Jurymitglied für den queeren Filmpreis des Festivals im Saal saß. Und auch im vergangenen Jahr gab es wieder Proteste gegen das Festival wegen queerer Filme. Das ist genau der Punkt, an dem der TEDDY AWARD eingreift: Wir unterstützen bedrohte Festivals und Filmemacher weltweit, indem wir ein Netzwerk an Festivals aufbauen helfen, indem wir in Berlin einen geschützten Raum bieten, wo die Programmer sich austauschen können und sich Synergien herstellen, die wir befördern. Wir helfen mit Manpower und mit Softpower, mit den Kontakten und dem Einfluss den wir haben. Mit unserer Hilfe konnte beispielsweise das Side by Side Filmfestival in Sankt Petersburg stattfinden, das wegen der homophoben Gesetze in Russland keine Vorführungsräume mehr fand und dann seine Filme im Goethe-Institut zeigte. 1987 wäre das undenkbar gewesen! Das Networking, das wir seit 30 Jahren verfolgen, ist zugleich die Hauptunterstützung und Basis für die Queer Academy, die wir als Gedächtnis für queere Kultur errichten und die das akademische Hinterfutter für unsere weltweite Arbeit liefert, indem wir dort Infos sammeln, eine Datenbank anlegen und scheibchenweise einen Pool aufbauen, um Festivals machen zu können, sich zu bilden, sich zu emanzipieren. Dort fließt natürlich auch all die Erfahrung, all das Wissen und das Können des TEDDY AWARDS ein, und das seiner assoziierten Festivals von überall her. In Zukunft werden wir die Queer Academy weiter auf- und ausbauen. Dazu gehört auch, dass wir irgendwann Filme restaurieren und juristische Möglichkeiten ausschöpfen wollen. Denn viele queere Filmemacher, besonders aus der AIDS-Zeit, wurden nach ihrem Tod re-heterosexualisiert. Die Familien ließen ihre Werke oft verschwinden und verheimlichten die Homosexualität. Wir wollen sie aus dem bewussten, politischen Vergessen holen. Und wir sehen auch immer wieder, wie schnell all die Emanzipation, all die Rechte, die wir uns erkämpft haben, verloren gehen können, wie schnell wieder zurück gerudert werden kann. Zum Beispiel in Polen, wo jetzt gerade wieder womöglich dunkle Jahre drohen. Darum kann ich nur sagen: Den TEDDY werden wir noch lange brauchen!

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yet been overlooking us. Therefore, a film could be a success at the festival but the movies were forgotten afterwards. That needed to change! And so in 1987, the TEDDY AWARD was awarded for the very first time. To increase media attention, to make the films more visible; to show queer life, and to fight for more space. We didn’t care about any resistance against it. We just presented our award! And until the very last moment, nobody knew about it. Meanwhile, we called the people who met at Prinz Eisenherz, International Gay & Lesbian Film Festival Association IGLFFA, and at the end of the festival, I asked those film-buffs what their choice for the best feature film and the best short film was. The answers were clear: Pedro Almodóvar’s “La ley del deseo” (The Law of Desire) as well as Gus Van Sant’s “Five Ways to Kill Yourself” and “My New Friend”. Then I bought tiny teddy bears and sent them to the winners by mail. Thus there was the prize – and the first two then still completely unknown winners were thrilled. As early as in the second year, the TEDDY ceremony was held in SchwuZ and at the beginning of the festival, I had already told the people that those who watch all the movies can vote on the award. So the first juries were people who had watched all TEDDY-relevant films. But from the mid-90s on, both the number of films and of the regular attendees became too many, therefore we have an independent international jury since 1997, which always consists of festival programmers.

Looking back at 30 TEDDY AWARDS When I get asked why back in the 1980s we started a queer film award, the answer refers not to the past but to the present and is leading right to the TEDDY30 Jubilee Film Programme – because already back then it was the movies that evoked the idea. In the late 1970s queer films were very scarce, just few rays of light in the realm of darkness once every five years. Only the 1980s opened a door and left the previous decade behind, a decade in which the common connotation for everything queer was, in the end, death or insanity. Previously hidden behind the closed door, a combative attitude and the urge to create an independent cinema started when Manfred Salzgeber began at the Berlinale.

Over the years, also the TEDDY AWARD itself has gotten a new look. The initial plush teddy bears turned into a statuette designed by Ralf König and manufactured by the jeweller Astrid Stenzel. The TEDDY, a plumpy, non-gendered, weighty figure with a gentle smile, sits on a piece of granite, a Berlin cobble stone. It reminds us of the times we come from – of the 1970s. Of the time when people from emancipatory demonstrations, the forerunners of the CSDs, were verbally and physically abused by right-wingers. Ah, even today you can have the misfortune of being beaten up for being who you are. But if it should be necessary once again, the TEDDY AWARD statue can become the stone to throw. We do not want this, of course, but we would prefer to defend our own freedom with stones, rather than eagerly go to the slaughterhouse. Back in the days, we said with Arturo Ui, “The womb it crawled from is still going strong!” Unfortunately, this still seems applicable today as well.

As a co-founder of the ‘International Forum of Young Cinema’ and as a cinema owner, Manfred had already shown films that no one else cared showing before. However, due to his political clash with the Forum, in the German Autumn period of 1977, he left the Federal Republic for Amsterdam. Two years later, Moritz de Hadeln, the new director of the Berlinale, invited him back to Berlin to create an independent section, the Info-Schau, which was renamed Panorama in 1986. I myself was called to join Manfred in 1982. He had already screened my first short film one year before and from that moment on we did all the work together.

Even though the TEDDY AWARD indeed comes from the Panorama, it has been important since its birth that it can be awarded to films of all the sections across the entire Berlinale. So throughout its existence and even before that, the TEDDY has left its mark on the Festival. Its longtime director, Moritz de Hadeln, turned out to be very supportive with the establishment of the TEDDY as a Berlinale award, finally. In the mid 1990s, the Festival recognized the TEDDY AWARD and for the first time included it in the list of independent awards. By now, we are “the queer film award of the Berlinale”, as Dieter Kosslick says.

From the very beginning, Manfred used his experience and political beliefs to form a broad independent programme, which included the largest possible number of gay and lesbian films. An indie-programme with such a focus had never existed before. A lot of people were surprised, many were strongly against it, quite a few simply ignored it, but some said: “That’s where we have to go!” Within the next five years, everyone, who had anything to do with gay-lesbian cinema, knew that the Berlinale was their first address. Over the time the films became better, volume, selection and quality rose and we became the centre for queer cinema.

The visibility that we were fighting for in the media and in the festival should be taken public with the ceremony. Therefore, from early on in the history of the TEDDY, it was important for us to not only use gay venues but to get out of the gay scene and to conquer legendary locations like Metropol, Dschungel and Kant Kino. For 10 years by now, since the 20th TEDDY AWARD, french-german broadcaster ARTE has even been broadcasting the TEDDY Ceremony. Who would have imagined that at the first TEDDY AWARDS!?

At the evening sessions of the Festival, we informed the audience that we would continue watching and discussing films until the wee hours in Prinz Eisenherz bookstore. Prinz Eisenherz, the intellectual and cultural gay-centre, was the natural place for our “Night Cafés”. Among the people meeting, there were, from early on, a lot of filmmakers and festival organizers. Roughly speaking, the “Night Café” meetings were the predecessor of the current Queer Programmers Meeting, with more than 200 people attending from all corners of the world, and our Queer Academy.

Highlights, there were a few in the 30-year history of these glamorous award ceremonies. At the eleventh TEDDY AWARDS, which took place in the post-punk temple SO36, the room was too small for all the people who wanted to be there. We had planned to broadcast everything into the surrounding bars on Oranienstraße, but the broadcast did not work. So more and more people crowded into the venue. Many of those, who were standing outside, got angry that they could not get in. And then Moritz de Hadeln appeared! The first visit of a festival director at our ceremony. He and his press attaché squeezed through the mass of people, panicked and wanted to get out. But I pushed him from the back and did not let him go. In the end, everything went well

Despite good attendance and success, we still found ourselves in a very frustrating situation. During the Berlinale, we screened amazing films and had a magnificent festival but we were left out by the press, especially the queer movies found no film distributors. Even though we received now more attention for our focus on queer cinema and started to be visible beyond just queer film people, the mainstream media had

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and we had a great ceremony, where Cheryl Dunye, Nan Goldin and Rob Epstein were honoured. In 2007, we had Javier Bardem with huge false eyelashes on stage! Only the previous evening, I had asked him and Isabel Coixet if each of them would present a TEDDY, and they both agreed on the spot. Bardem, however, assumed that it was an almodoveske event and came in drag to the ceremony. When he realized that he was sitting in a political award show, he changed quickly, but the eyelashes remained on, otherwise everything would have been smudged – so he wore them proudly on stage. And crises? Well, every TEDDY is a crisis. – That makes us stronger. The TEDDY needs this strength to continue the fight for attention, visibility and queer emancipation. At the beginning it was mainly films and countries of the Western World that benefited from it, then it bore a wider range. And even if we experience a backlash at the moment – what has been achieved is huge, you almost feel spoiled by all the far-reaching changes and improvements. But: you can see how bad things are for our neighbours. How queer people in Africa and Asia are still persecuted, tortured, imprisoned and killed. There, you just see no light at the end of the tunnel and then you realize how noticeable the TEDDY’S shine is. Because it is not only about the movies, but about fundamental human rights which we fight for. With this, also the ever recurring question of whether we still need the TEDDY is answered! The demand can also be seen in the fact that more and more festivals pick up the idea of a queer film prize and we are extremely pleased with that. Besides Cannes and Venice, the Festival Molodist in Kiev was the very first one. There, a cinema was set on fire in 2014 by right-wing extremists, while Panorama-organizer Michael Stütz was sitting in the hall as a jury member for the festival’s queer film award “Sunny Bunny”. And again in the past year, there were protests against the festival because of the queer films. That’s exactly the point where the TEDDY AWARD steps in. We support threatened festivals and filmmakers around the world by helping to build a network of festivals by offering a protected space in Berlin where the programmers can exchange and create synergies that we promote. We help with manpower and with soft power, with the contacts and the influence we have. With our help, for example, the Side by Side Film Festival in Saint Petersburg could take place. At first, it could not find any venue because of the homophobic laws in Russia, but then the Goethe Institute stepped in and screened the films in their venues. In 1987, this would have been unthinkable! The network, which we have been creating for 30 years, is also the main support and the basis for the Queer Academy. We are building it as a memory for queer culture and it provides the academic background fodder for our global work by collecting information, creating a database in order to serve festivals to educate, to further enhance emancipation. There, of course, lies all the experience, all the knowledge and skill of the TEDDY AWARDS, and its associated festivals from everywhere. In the future, we will continue to develop and expand the Queer Academy. This also means that we want to eventually restore films and exploit legal options. Many queer filmmakers, particularly from the AIDS-time were re-heterosexualized after their death. The families often let their works disappear and concealed their homosexuality. We want to bring them out of the political oblivion. And we see again and again how quickly all the emancipation, all the rights that we won, can be lost, can be quickly lost again. For example in Poland, where just now the dark years are threatening to come back again. To that I can only say: We will still need the TEDDY for a very long time! Wieland Speck Photo credits: Annette Frick, Kathy Otto, Brigitte Dummer, Sebastian Woithe, Olaf Merker, Panorama & TEDDY Archiv

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SHINE ON, TEDDY DEAR, SHINE ON! by Egbert Hörmann

absolutely indispensable role of an enlightening taboo-breaker and of an aide to weaken the influence of patriarchal and heterosexual stereotypes and to strengthen the self-determined identity.

Since its beginning in the film industry (“Different from the Others” in 1919!), queer longing could never be suppressed and it kept its attractive disturbing fascination even when tabooed, scary others were depicted as sick, neurotic, criminal, self-destructive, ridiculous and decadent.

Awarded in several categories, the TEDDY AWARD shows us: We are indeed everywhere, on all five continents, from glittering metropolises to godforsaken villages somewhere out there. In this thought lies if not optimism, but hope. In a wonderful way the TEDDY AWARD and the international queer film making show us the rainbow-coloured spectrum of our emotional landscapes. The trinity of heterosexuality-homosexuality-bisexuality stayed in the shadows and was rejected by the enlightened science for a long time. And the homophobic living conditions of queer people in most countries of the world are still extremely difficult. The queer filmmakers through their respective agents also state: “As long as there is a queer person in the world who is not free, I am not free.”

Until the late 1970s, you could find, here and there, some explicitly queer movies, but those rather stayed isolated eruptions. The director of the Panorama from 1980 to 1992, Manfred Salzgeber dreamed of creating a German queer film movement. It came true, when together with Wieland Speck and plenty of chutzpah, he brought the TEDDY to life. The idea behind the TEDDY was to enable greater presence, attention, working structures and the development of international networks through the queer film movement. It all began with small stuffed teddy bears from a department store. Obviously many had doubts of what would become out of that ordeal. But! It became something ever incomparable, fresh, exciting, creative and combative – the TEDDY AWARD. Awarded for the first time in 1987 a small plush bear set the whole endeavour primarily as an honourable one, but this cute trifle seemed to have a very uncertain future. In the first year the little creatures went (even sent per post!) to the hitherto unknown directors Pedro Almodóvar and Gus Van Sant. In 1992, the TEDDY was recognized as an official award of the Berlinale and it permanently established its reputation. Today the TEDDY AWARD is one of the most impressive success stories of the international queer community.

This is solidarity. And the variety of TEDDY movies contributes to the fact that we can be touched by the fates of the people on screen, who handle, affirm and live their specific modes of existence under still very difficult circumstances. TEDDY films and TEDDY activities support our struggle for emancipation worldwide. So the TEDDY AWARD contributes to the fact that the queer community can represent, handle and positively accept its often difficult existence, as well as fight injustice. The TEDDY solidarity proves that queer filmmakers can show a versatile, differentiated and unprejudiced picture of our lives thus contribute to social change, tolerance, acceptance and equality.

“The film pushes our imagination of the world that coincides with our desires,” film critic André Bazin once analyzed, and thereby he referred to the imbalance between the reality of the idea, the reality of the world and the reality of desire and longing. Called by cinearts and activists, this extraordinary, innovative decision to run a queer film award was based on the understanding that movies are the main media in this age of mass culture. They form, define and eventually change cultural identities. This is why queer films, which focus on queer life, play an

What a beautiful fight, what a beautiful success story! In the last 30 years, the TEDDY has forced, reflected upon and supported the corresponding developments. Its existence has not only created a new international confidence for the queer filmmakers and our community but it also has expanded the awareness to a wider audience.

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Prolog: Der passende Film zum Jahr 1968. Ein Regiedebüt. Ein inhaltlicher und formaler Amoklauf. Summend eilt eine junge Frau mit Blumenstrauß zu ihrer Wohnung in einem tristen anonymen Wohnblock. Der Aufzug funktioniert nicht. Sie rennt nach oben, ist außer Atem. Sie scheint bester Dinge, wenn sie ihre Küche fegt, schrubbt und sich Spaghetti macht. Dann bringt sie ihre eigene Ordnung wieder in Unordnung. Sie scheint etwas im Schilde zu führen, verschließt die Küchentür und die Fenster, schließt die Ritzen mit einem Klebeband. Dann öffnet sie den Gasherd, sie sprengt die Stadt und sich in die Luft. (Saute ma ville, 30 min, 1968)

Fragmente zu einer Eigenwilligen Die Berlinale erinnert mit den Filmen „Je tu il elle“ und „Toute une nuit“ an die im letzten Jahr verstorbene belgische Regisseurin Chantal Akerman.

von Anke Leweke Der Anfang von „Je tu il elle“ dürfte mittlerweile als eine Art Vorläufer für performative Videoinstallationen im Stil einer Marina Abramovic gelten. Es gilt, dem selbstbestimmten Blick von Chantal Akerman auf sich, auf das „Je - Ich“ aus dem Titel standzuhalten, sich ihm im besten Sinne des Wortes auszusetzen. Gerade die Dauer der einzelnen Einstellungen zeigt, dass sich hinter dem vermeintlichen Stillstand ein bewegtes Leben auftut. Man sieht Trauer, Leidenschaft, Wut.

Wenn man bei Manfred Salzgeber, dem Mitbegründer des Panoramas und des TEDDYS, zum Abendessen eingeladen war, blieb man nie unter sich, denn auch seine Filmfamilie nahm Platz am stets schön und reichlich gedeckten Tisch. Zu seinen virtuellen Stammgästen gehörten künstlerische Querdenkerinnen, deren Visionen er nie müde wurde zu reflektieren und weiterzudenken. Ula Stöckl, Kira Muratova und Chantal Akerman wurden in diesen langen Nächten zu Schwestern im Geiste. Drei Frauen, drei Filmemacherinnen, die das Publikum mit ihrem Blick auf die Welt herausfordern. Es ist ein Blick, dem man stets einen Kampf, ein Ringen um Selbstbestimmung anspürt, der die Bildsprache dieser Regisseurinnen prägt und jede Szene mit einer ganz eigenen Spannung auflädt.

„Jedes Mal, wenn ich den Film wieder sehe, tut mir das Bild, das er von mir gibt, weh. Es gibt anscheinend nichts Gemeinsames zwischen mir und dieser Person außerhalb der Gesellschaft, die verzweifelt ist und eine Geste nach der anderen macht, mit einer Art von heimlicher Entschlossenheit, einer stummen Verzweif‐ lung, nahe am Heulen...Ich glaube, dass in jedem von uns ein Nachklang eines kurzen Heulens steckt, das man erstickt hat, um das Spiel der Gesellschaft zu spielen.“

„Ich wusste nichts über ‚Pierrot le fou‘, mir gefiel nur der Titel von Jean-Luc Go‐ dards Film, deshalb ging ich mit einem Freund ins Kino. Nach der Vorführung war ich unmittelbar verrückt nach Filmen und beschloss in derselben Nacht, Filme zu machen.“

Die Begegnung mit dem „Il - Er“: Julie bricht auf, steht als Tramperin an der Autobahn, ein Lastwagenfahrer nimmt sie mit, während eines langen Gesprächs kommen die beiden einander näher, sie schaut ihm beim Rasieren zu, dann fährt sie zu ihrer Freundin.

Man muss sich nur den ersten Spielfilm von Chantal Akerman anschauen: „Je tu il elle“ aus dem Jahr 1974. Die statischen Einstellungen halten Szenen aus dem Leben einer jungen Frau fest. Diese Frau namens Julie wird von Chantal Akerman selbst gespielt oder vielmehr verkörpert. Sie hat sich in ein Zimmer, besser: in einen Innenraum zurückgezogen. Sie ist damit beschäftigt, für ihre Matratze die richtige Position zu finden. Sie ernährt sich von Puderzucker. Manchmal hört man ihre Gedanken aus dem Off. Meistens schaut sie uns an. Oder doch durch uns hindurch?

„Zu sagen, dass Julie homosexuell ist, hieße sie darauf zu reduzieren, dass sie eine homosexuelle Beziehung hat. Es hieße auch, dass eine Frau ohne homosexu‐ elle Beziehungen dem Lastwagenfahrer anders begegnet wäre. Der Lastwagen‐ fahrer ist hier das Andere, das Unterschiedliche.“

„Ich hatte den Text zum Film schon sechs Jahre zuvor geschrieben, hätte ich ihn damals verfilmt, hätte ich einen Film über eine Geschichte gemacht, während der Abstand eine Inszenierung erlaubte.“

Die Rückkehr zu „Elle - Sie“: Am Esstisch knüpft Julie ihrer Freundin den Bademantel auf, streichelt ihre Brüste. In dem langen Schlussakt des Films sieht man die zwei Frauen im Bett mit ihrer Liebe und ihrem Begehren buchstäblich ringen.

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„Liebe ist gewalttätig. Man neigt aber dazu, sich die Liebe zwischen Frauen so vorzustellen, wie sie David Hamilton in ‚Junge Mädchen mit Blumen‘ zeigt. Ich will sagen, sie scheint in meinem Film gewalttätig, weil sie ohne Übergang herbeigeführt wird und weil man erwartet, dass das Verlangen zwischen zwei Frauen durch eine erklärende Szene eingeleitet wird, die es rechtfertigt, wäh‐ rend zwischen einem Mann und einer Frau eine Rechtfertigung für das Verlangen nicht notwendig ist.“

Prologue: The right film for 1968. Directorial debut. A contextual and formal madness. Humming hustles a young woman with a bunch of flowers to a flat in a dull nameless apartment block. The elevator does not work. She runs upstairs, completely out of breath. She seems to be in high spirits when she sweeps and scrubs the kitchen and makes spaghetti. Then, she turns her own order into disorder. She seems to be up to something, she closes the kitchen door and windows, secures the cracks with tape. Then she opens the gas stove, blows up the city and herself. (Saute ma ville, 30 min, 1968)

Rückblende: Am 6. Juni 1950 wird Chantal Akerman in Brüssel als Tochter jüdischer Emigranten geboren, die in den späten dreissiger Jahren aus Osteuropa gekommen waren. Während des Krieges versteckte sich der Vater in der Wohnung in Brüssel, ihre Mutter und deren Eltern wurden nach Auschwitz deportiert. Die Mutter, einzige Überlebende, wird nie über das Geschehene sprechen. In ihren späteren Dokumentarfilmen wie etwa in „Histories d‘Amérique“ (1988) versammelt Chantal Akerman Geschichten anderer jüdischer Überlebenden, die in der Neuen Welt Zuflucht fanden, ohne dort je ganz angekommen zu sein. „Über meine Herkunft habe ich nichts von meinen Eltern erfahren. Ich muss‐ te mich ihr über die Literatur nähern, zum Beispiel über Isaac Bashevis Singer. Aber das genügte nicht, denn ich konnte mir nicht einfach seine Erinnerungen zu eigenmachen.“ Das Schweigen der Mutter liegt über Chantal Akermans 1974 entstandenem Film „Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles“ – einem Monolithen der Kinogeschichte. Es ist die Betrachtung des Alltags einer obsessiv-zwanghaften Hausfrau während dreier Tage. Es scheint als habe sich die von Delphine Seyrig gespielte Frau nach einem eigens erstellten Plan in einem unfassbar eintönigen Leben eingerichtet. Sie kocht Kartoffeln, formt Frikadellen und macht Betten in Realzeit. Wenn sie einen Raum verlässt, knipst sie das Licht aus, und knipst es an, wenn sie einen anderen betritt.

„Es ist ein Film über Raum und Zeit... und darüber, wie man sein Leben organi‐ siert, ohne dabei irgendwelche Freiräume zu haben, um nicht Angst oder Todes‐ furcht in einem aufkommen zu lassen.“ Nach Akermans Debut „Saute ma ville“ ist dieser Film ein weiterer, ein stiller Amoklauf. Wenn ihr Sohn in der Schule ist, empfängt Jeanne Dielman ihre Kunden. Sie schläft für Geld mit Männern. Danach räumt sie wieder auf. Doch plötzlich macht sie den Kaffee zu stark, lässt das Essen anbrennen. Der perfekt choreografierte Tagesablauf gerät aus seinem Takt. Das Verstörende an diesem Film ist, dass er uns dafür keine Kausalitäten, psychologische Beweggründe nennt. Dielman ersticht ihren nächsten Kunden. Am Ende sitzt sie wieder an ihrem Esstisch.

Fragments of an Individual The Berlinale commemorates Chantal Akerman, the Belgian director who passed away last year, by showing her works “Je tu il elle” and “Toute une nuit”

„Für eine lange Zeit konnte ich nicht mit Jeanne Dielman umgehen. Es ist eine Art Film, den Du erst am Ende deines Lebens machst, und ich machte diesen Film, als ich 24 war.“

von Anke Leweke

Chantal Akerman beherrscht die Kunst der Fuge. Ihre Filme funktionieren wie Musikstücke, ihr Leitmotiv ist die Isolation eines einzelnen Individuums von sich und seiner Umwelt. In „Toute une nuit“ (1982) folgt sie gleich mehrere Monaden, deren Wege sich zufällig in einer schwülen und erotischen Sommernacht treffen – oder auch nicht. Eine Frau betrachtet das vorbeiziehende Leben vor ihrem Fenster. Zwei einsame Menschen sitzen an getrennten Bistrot-Tischen. Ein Mann starrt auf sein Telefon. Diese vermeintlich flüchtigen Szenen entwickeln ihre ganz eigene Dramatik, weil sie genau den Moment festhalten, in dem plötzlich Trauer, Freude, Sehnsucht sicht- und spürbar werden. Dafür braucht die Kamera keine Nahaufnahmen. Und auch ohne Musik wird der Film zur Symphonie einer Großstadtnacht.

If you were invited to dinner with Manfred Salzgeber, the co-founder of the Panorama and the TEDDY, you were never alone, because his film family was always present at the always beautiful and richly laid table. His virtual regulars were artistic Creative Thinkers whose visions he was never tired to reflect and think ahead. In these long nights, Ula Stöckl, Kira Muratova and Chantal Akerman were the sisters in spirit. Three women, three filmmakers who challenge the audience with their view of the world. It is a view, which always defines a fight, a struggle for self-determination, which characterizes the imagery of these directors and charges every scene with its own voltage. “I knew nothing about ‘Pierrot le fou’. I just liked the title of Jean-Luc Godard’s film, so me and my friend went to the cinema. I was crazy about the film immedi‐ ately and I decided to make movies the same night.”

Epilog: Auch nach der Explosion, wenn die Stadt in „Saute ma ville“ zerstört, die junge Frau tot ist, begleitet uns ihr Summen. Es bleibt einfach da, erfüllt den Kopf, wie ein existenzielles Geräusch des Lebens. So wie die Filme von Chantal Akerman.

You should just watch her first movie “Je tu il elle” from the year 1974. The static shots depict the scenes from a life of a young woman. This woman called Julie was played, or rather embodied by Chantal Akerman herself. She shut herself in a room, or better to say – in the inner world. She is busy finding the right position for her mattress. She feeds on icing sugar. Sometimes you can hear her thoughts coming from the off-stage. She mostly stares at us. Or through us?

Die Zitate von Chantal Akerman stammen aus Interviews mit Gary Indiana, Sylvia Paskin, Susan Barrowclough und aus biografischen Ausfzeichnungen.

“I had written the script for the movie 6 years before its production. If I had filmed it at that time, I would have made a film about one story. But at the same time, the gap allowed staging.” Meanwhile, the beginning of “Je tu il elle” could be a kind of predecessor of Marina Abramovich’s performative video installations. You have to endure Chantal Akerman’s self determined view on herself, on the “Je - I” from the title, to, in the best sense, expose oneself to this view. Especially the duration of individual takes shows that there is life behind the supposed standstill. We see grief, passion, anger. www.cine-plus.de

du Commerce, 1080 Bruxelles” – a monolith of cinema history. It is a three day observation of an everyday life of an obsessive-compulsive housewife. It seems like the woman, played by Delphine Seyrig, had set herself up to follow the specially prepared plan of living an incredibly monotonous life. She cooks potatoes, forms meatballs and makes beds in real time. When she leaves the room she turns off the lights and turns them on when she enters the other.

“Everytime I see the film again, its imagery hurts me. There seems to be nothing in common between me and this person, except for the society that is desperate and copycats the gestures of the others, with a sort of secret determination, a mute despair, close to the howling… I believe there’s an echo of a short howl plugged in every one of us. The howl people choke in order to play the society game. “ The encounter with “Il - He”: Julie breaks out, stands as a hitchhiker on the highway. A truck driver picks her up, they get closer during a long conversation. She watches him shaving. Then she goes to see her girlfriend.

“It is a film about space and time… and about how people organize life without any free space to allow any anxiety or fear of death to get in.” After Akerman’s debut “Saute ma ville”, this work is another silent madness. When her son is at school, Jeanne Dielman receives clients. She sleeps with men for money. Then she cleans up again. Suddenly she makes the coffee too strong, lets the food get burned. Her perfectly choreographed daily schedule gets out of pace. What is disturbing in this film, is that it does not give us any causality or psychological causes. Dielman stabs her next client. At the end she sits at the table again.

“To say that Julie is homosexual is to reduce her to just having a homosexual relationship. It would also mean that a woman without homosexual relations would be treated differently by a truck driver. The truck driver here is the other, the different.“ Coming back to “Elle - She”: at the dining table, Julie undoes her friend’s robe and caresses her breasts. During the long final scene of the film, we can see two women literally wrestling in bed with their love and desire

“For a long time, I could not deal with Jeanne Dielman. It is the type of film that you make at the end of your life and I shot it when I was 24.”

“Love is violent. People tend to imagine love between women as in David Hamil‐ ton’s ‘Flower Girls’. I’d say, in my film it looks violent because it is brought without transition and because people expect that desire between two women will be introduced in a clear way that justifies it. While at the same time, love between a man and a woman does not need such a justification.”

Chantal Akerman mastered the art of fugue. Her films function like music, her leitmotiv is isolation of a single individual from itself and its environment. In “Toute une nuit” (1982) she follows the same multiple monads, whose paths meet or don’t meet during one queer and erotic summer night. One woman watches from the window as the life’s passing by. Two lonely people sit at separate tables in a bistro. A man stares at his phone. These supposedly brief scenes develop their own dramatic act, because they capture the moment when suddenly sadness, joy, longing become visible. The camera does not need close ups for it. And even without the music, this film is a big city night symphony.

Flashback: Chantal Akerman was born in Brussels on June 6th, 1950 in a family of Jewish emigrants who came from Eastern Europe in the late 1930s. During the war, her father was hiding in an apartment in Brussels, her mother and grandparents were deported to Auschwitz. Her mother, the only survivor, would never talk about what happened. In her later documentaries like “Histories d‘Amérique” (1988), Chantal summarised the stories of other Jewish survivors, who found shelter in the New World but were never truly accepted there.

Epilogue: even after the explosion in “Saute ma ville”, when the city is destroyed and the young woman is dead, her humming stays with us. It is just there, filling the head like an existential noise of life. Just like the movies of Chantal Akerman.

“I did not learn anything about my background from my parents. I had to educate myself on it, for example through Isaac Bashevis Singer. But that was not enough I could not just accept his memories as my own.”

The Quotations of Chantal Akerman were taken from her interviews with Gary Indiana, Sylvia Paskin, Susan Barrowclough and from biographical records.

Her mother’s silence was depicted in 1974 in the film “Jeanne Dielman, 23 Quai

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Christine Vachon the “Whatever it takes” storyteller by Marisa Balz

ol” (2015), their cooperation has always been successful. “Carol”, which tells the touching story of a young department store clerk (Rooney Mara) and a married woman of high society (stunningly performed by Cate Blanchett), is set in the America of the 1950s – and is one of the hottest contenders for this year’s Oscars.

Following her “Whatever it takes!” motto, Christine Vachon – film producer and co-creator of “Killer Films” production house which celebrated its 20th anniversary in New York last year – is supporting her film projects with tremendous commitment and passion. She succeeds in balancing between creativity and commercialization by bringing stories to the cinema that are often beyond the normative. She manages to mesmerize her audience with beyond-mainstream films and is celebrating financial success at the same time. That is how Vachon became one of the most influential producers in the US independent movie industry. Her arthouse feature films are regularly competing for international movie awards, including the Oscars. Among them: “Far From Heaven” (2002), “I’m not there” (2007) und “Still Alice” (2014), starring acclaimed actors like Julianne Moore, Richard Gere, Heath Ledger und Christian Bale, to name only a few.

Again and again, Vachon has been proving her flexibility and adaptability in the film industry, for example, through the merge of “Killer Films” with the media company “Glass Elevator Media” to “Killer Content” in 2014. Vachon, however, has never lost her own, special focus, for at the bottom of her heart are lying unconventional stories, stories only waiting to be told. And it is not uncommon for Vachon to give them a rather edgy, unusual presentation. So for Vachon, who sees herself as a storyteller rather than a filmmaker, there are two both equally important things: what is told and how it is told. Her films aim to convey a message and at the same time, to break habitual viewing patterns by inviting the audience to leave its comfort zone again and again.

Many of the films produced by Vachon are also masterpieces of queer cinema, with quite a few TEDDY-winners among them. These include classics of the New Queer Cinema Movement like Tom Kalin’s “Swoon” (1992), Rose Troche’s “Go Fish” (1994) which was the first New Queer Cinema work to place a lesbian story at the centre of the plot, and John Cameron Mitchell’s tragicomic musical “Hedwig and the Angry Inch” (2001). The latter two are also screened in this year’s “TEDDY 30 Jubilee Programme”.

Christine Vachon puts her entire heart and soul in each of her works. For her, producing indie films means capturing a unique vision and projecting it onto the screen for everyone to see, like in this year’s radical Panorama entry “Goat” by Andrew Neel, which she co-produced with James Franco. For her dedication, her commitment, her energy and for the great queer films she heaved into existence, she is receiving the Special TEDDY AWARD 2016. We are pleased to honour a person who is a truly exceptional storyteller – a teller of our stories. Or to put it in Todd Haynes’ words: “She’s just one of a kind.”

Vachon produced all films by director and screenwriter Todd Haynes, whom she has known since her student time at Brown University. From Haynes’ first film “Poison” (TEDDY winner 1991) to his latest work “Car-

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ADÁN SALINAS ALVERDI

ALEXANDRA CARASTOIAN

ALICE ROYER

is a Mexico City based curator, programmer, researcher and artistic director. He is CEO of Global Cooperation Agency for Cultural Exchange and the General Director of MICGénero, International Film Festival with Gender Perspective. He works as museographer in different museums and associations such as Museo de la Ciudad de México and Museo Tamayo. Adán is currently preparing a map’s exposition “Scenarios of modernity” in coproduction with several NGOs working in the field of postcolonial studies.

is a filmmaker, a photographer and a human rights activist from Romania. She is a founding member of the first Romanian NGO, which supports trans* individuals. She has been a part of the two annual festivals: LGBT History Month and Bucharest Pride. Alexandra is the director of the first Feminist and Queer International Film Festival in Bucharest, which took place in November, 2015. Last year she won the Young Talent GOPO Cinematography Award for the film “It Takes Two to Fence”.

is a film and media scholar, archivist, and programmer from Los Angeles. She is the Legacy Project Manager at Outfest, where she oversees the Outfest UCLA Legacy Project, the only program in the world exclusively dedicated to protecting and preserving LGBT film. She is also an Assistant Programmer at Outfest, and has screened films for AFI FEST and the Los Angeles Film Festival. In addition to her film festival work, Alice is a PhD Candidate in Cinema & Media Studies at the UCLA.

AUGUSTAS ČIČELIS

DAGMAR BRUNOW

JAY LIN

comes from Vilnius, Lithuania, and is the Director and Programmer of Vilnius LGBT* Festival “Kreivės”. He has been involved in LGBT* activism and wider human rights movements for about a decade. Augustas has started to combine his passion for activism and cinema in 2012, joining an LGBT* film festival in Vilnius, which then developed into “Kreivės” – a wider annual cultural festival. The upcoming festival will be a part of the Baltic Pride 2016 which will take place in Vilnius this June.

is one of the programmers at the International Queer Film Festival Hamburg. As a film scholar she teaches Film Studies and Gender Studies in Sweden. Dagmar has been working for the Women’s Music Centre in Hamburg and has been one of the initiators of Ladyfest Hamburg. She is a longstanding member of the radio collective Freies Sender Kombinat in Hamburg. After publishing an edited collection on Stuart Hall in 2015, she is currently coediting the first German language volume on Queer Film Studies.

is the CEO of Portico Media, Chairman of the Taiwan International Media and Education Association, and Director of the Taiwan International Queer Film Festival. During the 2nd annual TIQFF in 2015, Jay spearheaded efforts to create a panAsian queer film festival alliance. Portico Media distributes TV channels and programming from around the world and produces a broad range of original LGBT-related programming. Portico productions have won numerous awards, including the prestigious Golden Horse Award.

NOSHEEN KHWAJA

SERUBIRI MOSES

XIAOGANG WEI

is the artistic director of GLITCH Europe’s first 10 day QTIPoC film festival and also the chair & leading tech tutor of the Digital Desperados filmmaking course for Women of Colour. Aside from a devotion to film she is also a practicing multimedia artist, filmmaker, jewellery maker and audiovisual tech & problem solver. She has run workshops, cocurated cabaret nights & screenings, exhibited artwork and performed in Hamburg, Berlin, Montreal, Amsterdam, Copenhagen, New York and the UK.

is an independent art writer, and curator based in Kampala, Uganda. His research experience has been through writing essays and academic papers on contemporary art and culture, published in different magazines and books; as well as through curating exhibitions and panel discussions. In 2014, he produced biographical notes on contemporary artists and curators from Africa. Last year Serubiri received the City Writer fellowship from the University of Bayreuth and curatorial fellowship from the Kadist Art Foundation in Paris.

was born and raised in Xinjiang, China. Since 2010, he is the executive director of the NGO Beijing Gender Health Education Institute. It constitutes one of the first Chinese NGOs to focus on issues of gender, sexuality and sexual health. Together with the BGHEI, Xiaogang launched a series of groundbreaking events in China, including the China AIDS Walk and the China Rainbow Awards. Xiaogang is the co-curator of the Beijing Queer Film Festival and a board member of the Beijing LGBT Centre.

30. TEDDY AWARD / www.teddyaward.tv

ANTES O TEMPO NÃO ACABAVA TIME WAS ENDLESS

JÁ, OLGA HEPNAROVÁ I, OLGA HEPNAROVA

JONATHAN

DIRECTOR Sérgio Andrade, Fábio Baldo CAST Anderson Tikuna, Rita Carelli, Begê Muniz, Emanuel Aragão PANORAMA SPECIAL Brazil/Germany 2016 - 85’, Portuguese/Tikuna/Sateré Mawé/Neenguetu/Tariano

DIRECTOR Tomas Weinreb, Petr Kazda CAST Michalina Olszanska, Martin Pechlat, Klara Meliskova, Marika Soposka PANORAMA Czech Republic/Poland/ Slovak Republic/France 2016 - 106’, Czech

DIRECTOR Piotr J. Lewandowski CAST Jannis Niewöhner, André M. Hennicke, Julia Koschitz, Thomas Sarbacher PANORAMA Germany 2016 99’, German

13.02. / 11:00 CineStar 8

11.02. / 21:00 CinemaxX 7 12.02. / 22:45 CineStar 3

12.02. / 22:30 CinemaxX 7 13.02. / 20:15 CineStar 3

18.02. / 19:00 Zoo Palast 1

13.02. / 20:15 Cubix 7&8

14.02. / 20:00 Cubix 7&8 15.02. / 22:30 Colosseum 1

19.02. / 10:00 CinemaxX 7

18.02. / 14:00 International

17.02. / 21:30 Union Filmtheater 1

20.02. / 14:30 Cubix 9

21.02. / 20:15 Cubix 7&8

20.02. / 14:00 International

Having been born into an indigenous tribe in the Amazon, Anderson is familiar with painful initiation rites. He is now living with his sister and her sick little girl in the city of Manaus. He has a mobile phone and takes on casual work, but must face the challenges posed by the incompatibility between modern life and shamanism. For him, the two worlds collide on a daily basis: when his niece is to be sacrificed, when a mythical monster appears to him in human form, or when he experiences a one-night stand in a doom metal night club. The shaman has another ancient ritual in store for Anderson, without which, according to the healer, he will be lost forever. With powerful images accompanied by electronic music, directors Sérgio Andrade and Fábio Baldo create a portrait of a wanderer between two worlds. One – endangered and fuelled by myths and legends – is fading away in the dwindling space accorded to it by the white conquerors. The other is loud and exhausting, but perhaps one in which Anderson will be able to develop in a better way. Eschewing didacticism, the film paints a dreamlike documentary portrait of a disappearing culture.

Olga is a complex young woman desperate to break free from her unfeeling family and social conventions. With her Louise Brooks like tomboyish looks she drags herself, chain-smoking, from one job to another until she appears to find her niche as a truck driver. Although she has female lovers she does not form a bond with any of them; instead she clashes, time and again, venting herself in wordless emotional outbursts and other behavioural extremes. Meticulously composed and shot in elegiac black-and-white this film tells the story of the short life of an exceptionally lonely young woman who turns into a mass murderer when, on 10 July 1973 – as she has just turned 22 – she drives a rented truck into a group of people, killing eight. In a letter acknowledging her deed she writes that she sought to take revenge on the world and on those she felt hated her. In spite of clear indications that she was mentally ill she was executed – making her the last woman to be publicly executed in Czechoslovakia. After producing several documentaries and shorts together, this film marks the directors’ first drama. The film is based on a lengthy period of research which culminated initially in a documentary entitled Everything is Crap.

Jonathan is 23; he and his aunt, Martha, work on their farm. Jonathan also devotes himself to looking after his father Burghardt, who has cancer. But, railing against his own decrepitude that prevents him from a dignified end, his father stubbornly sabotages all of his son’s efforts. Jonathan finds it increasingly difficult to cope until they hire a young carer, Anka, to help. Jonathan and Anka fall in love; her experience of working at a hospice helps Jonathan to gain a new inroad into his father’s situation. When Burghardt’s long-lost boyhood friend Ron appears on the scene his health visibly improves and, although the family sees Ron as an intruder and is against it, Ron continues to stay on to be with Burghardt. Jonathan discovers that, many years ago, his father and Ron were deeply in love. All at once, the façade of cherished family beliefs crumbles and long-repressed secrets come to light – but Jonathan also learns how to let go of his father and to accept his death as something that will open up the path towards a self-determined life.

www.cine-plus.de

JUG-YEO-JU-NEUN YEO-JA THE BACCHUS LADY

KATER TOMCAT

LIEBMANN

DIRECTOR E J-yong CAST Youn Yuh-jung, Chon Moo-song, Yoon Kye-sang, An A-zu PANORAMA South Korea 2016 110’, Korean

DIRECTOR Händl Klaus CAST Lukas Turtur, Philipp Hochmair, Toni, Thomas Stipsits PANORAMA SPECIAL Austria 2016 114’, German

DIRECTOR Jules Herrmann CAST Godehard Giese, Adeline Moreau, Fabien Ara, Bettina Grahs PERSPEKTIVE DEUTSCHES KINO Germany 2016 82’, German/French

12.02. / 20:00 CinemaxX 7 13.02. / 18:30 Il KINO

13.02. / 20:00 International 14.02. / 17:30 CineStar 3

16.02. / 19:30 CinemaxX 3

13.02. / 22:45 CineStar 3

15.02. / 22:30 Cubix 7&8

17.02. / 12:00 Colosseum 1

14.02. / 22:30 Cubix 7&8 17.02. / 17:45 CineStar 3

18.02. / 22:00 Zoo Palast 2

17.02. / 20:30 CinemaxX 1

20.02. / 17:00 International

20.02. / 22:30 Colosseum 1

Youn So-young has contracted gonorrhoea. ‘Make me well again quickly’ she tells her gynaecologist, because she wants to get back to work. In a park in Seoul, this senior citizen manages to scrape together just enough money as a ‘Bacchus lady’ to avoid begging. ‘Bacchus ladies’ are elderly women who sell a popular soft drink containing taurine known as ‘Bacchus’ and offer sexual services on the side. Korea’s rapidly ageing society barely has any money left for its pensioners and poverty among the elderly is soaring. When little Min-ho’s mother is detained by the police, So-young takes him in. The boy, who only speaks Filipino, experiences a rather unique sort of patchwork family in this courtyard peopled, alongside So-young, by her transgender neighbour and a one-legged young man. Many of So-young’s aged former clients and friends can no longer see a way out of their situation. One after the other, they ask this laconic lady, who for years has been harbouring a secret, for one last favour.

Andreas and Stefan live a blissful existence together with their tomcat, Moses. They inhabit a beautiful old house in the vineyards near Vienna and work in the same orchestra as manager and musician. Their passion for music, their large circle of friends and colleagues and their furry companion define the daily lives of the two men. But one morning an unexpected outburst of violence from Stefan shakes their harmonious relationship to its core. From this moment on, scepticism and alienation define their cohabitation and represent an almost insurmountable obstacle. While Stefan is losing the ground beneath his feet, Andreas struggles with his mistrust and his love for Stefan. Following his award-winning debut März (March), in his second film Händl Klaus portrays the expulsion of two lovers from paradise. Demonstrating exceptional sensitivity for the male psyche and for the blind spots in all our personalities, this artistic and poetic ballad tells of the fragility of love. Actors Philipp Hochmair and Lukas Turtur are both born theatre thespians and their naturalistic screen performances are impressive.

Teacher Antek Liebmann leaves his life in Germany behind and rents a place in summery northern France. He learns from his landlord that a murderer is striking terror in the surrounding woods. Following a dark premonition, Antek is drawn into the undergrowth on one of his walks where he makes a dangerous discovery. He befriends his attractive neighbour Geneviève and the cheery Sébastien. No one realises that Antek has left behind a terrible secret in his own country. Only the discovery of a mysterious property to which Geneviève takes him and the possibility of a new romantic relationship present Antek with a way out of the darkness. But before he can begin a new life he must confront the ghosts of his past, conjure them up and exorcise them. The storytelling is like the feathers of a peacock, oscillating between unobtrusive glimmering and striking iridescence. And so gentle summer days slide into night-time terrors or vanish in short flights of fancy into parallel worlds.

30. TEDDY AWARD / www.teddyaward.tv

LITTLE MEN

MÃE SÓ HÁ UMA DON’T CALL ME SON

NUNCA VAS A ESTAR SOLO YOU’LL NEVER BE ALONE

DIRECTOR Ira Sachs CAST Greg Kinnear, Jennifer Ehle, Paulina García, Theo Taplitz GENERATION KPLUS USA 2016 85’, English/Spanish

DIRECTOR Anna Muylaert CAST Naomi Nero, Daniel Botelho, Dani Nefusi, Matheus Nachtergaele PANORAMA Brazil 2016 82’, Portuguese

DIRECTOR Alex Anwandter CAST Sergio Hernández, Andrew Bargsted, Jaime Leiva, Edgardo Bruna PANORAMA Chile 2016 82’, Spanish

13.02. / 15:30 Zoo Palast 1 14.02. / 14:00 CinemaxX 3

12.02. / 19:30 Zoo Palast 2 13.02. / 22:00 Zoo Palast 2

13.02. / 22:30 Cubix 7&8

16.02. / 20:00 International

17.02. / 22:30 Colosseum 1

16.02. / 20:00 CinemaxX 7 17.02. / 22:45 CineStar 3

20.02. / 17:00 Cubix 9

19.02. / 20:00 CinemaxX 7

18.02. / 20:15 Cubix 7&8

21.02. / 10:00 HKW

20.02. / 12:30 CinemaxX 7

19.02. / 22:30 CinemaxX 7

«Why they’re still mad on us?» · «Our parents are involved in a business matter and it’s getting ugly. So they’re taking it out on us.» Summer in Brooklyn. Jake’s parents have just moved into the house that used to belong to his grandfather. Tony’s mother has been renting the shop on the ground floor forever. The two 13-year-olds quickly discover their shared interest in art, computer games and girls. Together, they dream of transferring to the renowned La Guardia High School in the autumn. Soon they become allies, not only against the other boys on the block, but also when it comes to the rent dispute between their parents. Attempting to stem the inexorable effect the adult world is having on their genuine friendship, they stage a headstrong protest. Once again renowned Indie director Ira Sachs intuitively explores the family and moral conflicts with emotional depth.

Pierre is seventeen and in the middle of puberty. He plays in a band, has sex at parties and secretly tries on women’s clothing and lipstick in front of a mirror. Ever since his father’s death, his mother Aracy has looked after him and his younger sister Jacqueline, spoiling them both. But when he discovers that she stole him from a hospital when he was a new born baby, Pierre’s life changes dramatically. Overnight, his world falls apart and his mother Aracy is arrested. His biological parents Gloria and Matheus have spent seventeen years searching for him; they are now desperate to make up for the lost years and spend time with their eldest son, whom they call Felipe. Observed from a critical distance by his younger brother Joca, Pierre/Felipe moves in with his well-heeled new family, who are determined to mould him according to their ideals. But Pierre has his own designs for his life. Director Anna Muylaert won the Panorama Audience Award in 2015 for Que horas ela volta? (The Second Mother). In her new work she explores the mother-child relationship through the eyes of a rebellious son whose whole world unravels overnight.

Introverted Juan, manager of a mannequin factory, lives alone with his eighteen-year-old gay son, Pablo. Whilst Pablo blithely studies dance, Juan is hoping that, after twenty-five years at the firm, his boss will consider him for a partnership. When Pablo is badly wounded in a brutal homophobic attack which sees him hospitalised, his father realises just how far they have become estranged. A lack of witnesses and expensive medical bills force Juan to leave the quiet stability of his life for good and reposition himself in a world where there is discrimination. Time and again his efforts come to nought, until one night on the streets of Santiago he makes up his own rules in order to save his son. In March 2012 the murder of an openly gay Chilean man, Daniel Zamudio, by neo-Nazis, shocked the whole of Latin America. This incident inspired Alex Anwandter to make his impressively multi-layered debut. Demonstrating great sensitivity, he traces in the figure of the reclusive father the enormous pressure that exists to adhere to the fixed norms of masculinity – only to dissolve these norms in Pablo’s dream of living a life that is vibrantly queer.

Matias Illanes @ Araucaria Cine

www.cine-plus.de

QUAND ON A 17 ANS BEING 17

RARA

SAN FU TIAN DOG DAYS

DIRECTOR André Téchiné CAST Sandrine Kiberlain, Kacey Mottet Klein, Corentin Fila, Alexis Loret COMPETITION France 2016 116’, French

DIRECTOR Pepa San Martín CAST Julia Lübbert, Emilia Ossandón, Mariana Loyola, Agustina Muñoz GENERATION KPLUS Chile/Argentina 2016 88’, Spanish

DIRECTOR Jordan Schiele CAST Huang Lu, Tian Mu Chen, Luo Lanshan, Xing Dan Wen PANORAMA Hong Kong, China 2016 95’, Mandarin

14.02. / 22:00 Berlinale Palast 15.02. / 15:00 Friedrichstadt-

13.02. / 12:30 Zoo Palast 1

13.02. / 19:30 CineStar IMAX

Palast 15.02. / 21:00 Haus der Berliner Festspiele

14.02. / 15:30 Toni & Tonino

14.02. / 22:30 Colosseum 1

19.02. / 09:30 Friedrichstadt-Palast

15.02. / 14:00 CinemaxX 3

17.02. / 19:00 Zoo Palast 1

21.02. / 19:30 Berlinale Palast

21.02. / 13:00 HKW

18.02. / 10:00 CinemaxX 7 19.02. / 17:00 Cubix 9

«So... do your Mom and Lia kiss in public?» «Sometimes. Not that much.» Since their parents split up, Sara and her younger sister live with their mother, whose new partner is a woman. Everyday life for the four of them is hardly any different than it is for other families. The situation is actually totally fine with Sara. But not everyone sees it that way – her father in particular has his doubts. As Sara’s 13th birthday approaches, she’s feeling rather overwhelmed: her first crush, a body in the midst of changes and to top it off, conflicts over loyalty with her parents... Everything feels wrong. The empathetic feature-length debut of director Pepa San Martín is based on a true story.

Endless dog days of summer weigh heavily on the impoverished suburb of Changsha where a young mother, Lulu, works as a dancer in a cheap nightclub. Coming home late one night, she discovers that her boyfriend Bai Long has disappeared with their baby. Her desperate search takes her to a transvestite bar where gay man Sunny is performing; he knows the whereabouts of the child’s father. A deal is struck between the odd couple whose lives are now fatefully intertwined: Lulu wants her child back and, in return, agrees to not stand in the way of Bai Long’s and Sunny’s homosexual relationship. In a hotel in Shanghai events come to a head as emotional and erotic trials and tribulations pile up. It transpires that, pretending the child’s mother had died, Bai Long has now sold his son to a wealthy couple, a doctor and his wife. What does the future hold for Lulu and her child?

Damien and Thomas attend the same grammar school class. They cannot stand each other and whenever verbal insults fail to do enough damage they take a swing at each other. Yet they could just as easily be friends. Damien’s mother Marianne is a country doctor and his father a military pilot on a tour of duty abroad. Thomas is of Maghrebi descent and is the adopted son of a farming family living on a remote farm in the mountains. After several miscarriages the farmer’s wife is expecting again and, since her pregnancy promises to be a difficult one, Marianne invites the withdrawn boy to come and stay with them for a while. Damien and Thomas find themselves having to live under the same roof... André Techiné has already taken part in the Berlinale Competition several times with films such as Les temps qui changent (2005) and Les témoins (2007). In Quand on a 17 ans he explores what it is like to grow up in different social environments in this portrait of two confused youths trying to govern their emotions. A rugged village in the mountains of south-western France as the seasons pass becomes the psychological landscape of the relationship between two young men which vacillates between disdain and attraction.

30. TEDDY AWARD / www.teddyaward.tv

THÉO ET HUGO DANS LE MÊME BATEAU PARIS 05:59 DIRECTOR Olivier Ducastel, Jacques Martineau CAST Geoffrey Couët, François Nambot PANORAMA France 2016 - 97’, French

TORO

ZJEDNOCZONE STANY MILOSCI UNITED STATES OF LOVE

DIRECTOR Martin Hawie CAST Paul Wollin, Miguel Dagger, Leni Speidel, Kelvin Kilonzo PERSPEKTIVE DEUTSCHES KINO Germany 2015 84’, German/Spanish

DIRECTOR Tomasz Wasilewski CAST Julia Kijowska, Magdalena Cielecka, Dorota Kolak, Marta Nieradkiewicz COMPETITION Poland/Sweden 2016 104’, Polish

15.02. / 20:00 International

19.02. / 16:30 CinemaxX 3

16.02. / 17:45 CineStar 3

21.02. / 14:00 CinemaxX 5

19.02. / 16:00 Berlinale Palast 20.02. / 09:30 Friedrichstadt-Palast

17.02. / 22:30 Cubix 7&8

20.02. / 10:00 Zoo Palast 1 20.02. / 21:00 Friedrichstadt-

20.02. / 21:30 Zoo Palast 1

Palast 21.02. / 22:30 International

Maxence Germain @ Ecce Films

@ Brendan Uffelmann/Kunsthochschule für Medien Köln

@ Oleg Mutu

Théo and Hugo encounter each other’s bodies in a sex club. They talk, things blur into the haziness of unbridled desire, then take shape for a moment as their gaze meets before they resume their exploration and lose themselves anew. A few moments later the two men feel the need to go outside. Together they drift down the deserted streets of nocturnal Paris. Suddenly they find themselves confronted by a sense of reality that wipes out their freedom and aimlessness and lends each step an existential helplessness. Do they want to know more about each other? Will their trust be rewarded? What are their expectations? Olivier Ducastel and Jacques Martineau display consummate sensitivity in bringing us closer to two men as they strive for intimacy in spite of being stalled by their insecurity. Their two leading actors delight us with their remarkably intuitive performances and their incredible charm.

An unequal friendship. Toro (25) is as disciplined as he is withdrawn. In contrast Victor (29) is a light-headed dreamer who careers more or less heedlessly through life. Both work as prostitutes. Toro services women, Victor men. Toro, whose real name is Piotr, came to Germany ten years ago. He knows exactly what he is working for: he wants to establish a boxing school back in Poland. And soon he will have enough money to do so. The only thing he wants to take with him from Germany is Victor so they can dare to embark upon a new life together. Victor knows all about Toro’s plans but cannot take them seriously because he is far too busy keeping his dealers, to whom he owes money, at bay. TORO is the story of two highly contrasting characters who take hugely different approaches to trying to fight their way out of an ignoble life on the margins. They could be each other’s last chance to save themselves from plunging off the precipice and into the abyss of the apocalypse which would consume everything else along with them and cast the world into eternal sin.

It is the beginning of the 1990s and Polish society is trying to redefine itself after years of stagnation. Schools are being named ‘Solidarno ’, the first West German spa visitors are bringing hard currency into the country, porn videos are doing the rounds and TV constantly repeats images of the trial of Rumanian dictator Ceau#escu. But private emotions remain untouched by these external changes: all the hopes and longings, caught between work, family and religion, desire and abstinence. Tomasz Wasilewski portrays four women in a small provincial town. Agata is attracted to a priest and secretly observes him. Iza is a head teacher who has been having a long-standing affair with a married doctor. Russian language teacher Renata seeks a closer relationship with her young neighbour Marzena who teaches sports and dance, while Marzena herself dreams of an international career as a model. Shot in desaturated colours and with a muted production design, this drama reflects upon the attempts to escape an anti-pleasure, body-hating environment. Wasilewski’s subject is the death throes of a society – and the emotional impoverishment of the individual.

www.cine-plus.de

11.02.

THURSDAY

14:30 Uncle Howard CineStar 7

22:30 Nunca vas a estar solo Cubix 7&8

22:00 Gendernauts – Eine Reise durch die Geschlechter Zeughauskino

20:15 Who's Gonna Love Me Now? Cubix 7

15:30 Little Men Zoo Palast 1

22:45 Jug-yeo-ju-neun Yeo-ja CineStar 3

22:00 Quand on a 17 ans Berlinale Palast

20:30 Tongues Untied Kino Arsenal 2

16:00 Kiki Colosseum 1

14.02.

22:00 Weekends CineStar IMAX

21:00 Quand on a 17 ans Haus der Berliner Festspiele

22:30 Jug-yeo-ju-neun Yeo-ja Cubix 7&8

22:00 Before Stonewall

22:30 Who's Gonna Love Me Now? CineStar 7

22:30 Jonathan Colosseum 1

22:30 San Fu Tian Colosseum 1

22:30 Kater Cubix 7&8

15.02.

23:00 Nitrate Kisses Kino Arsenal 2

17:00 Der Ost-Komplex International

21:00 Já, Olga Hepnarová CinemaxX 7

17:00 Who's Gonna Love Me Now? CineStar 7

12.02.

17:30 Zona Norte Cubix 7

FRIDAY

19:30 Mãe só há uma Zoo Palast 2 20:00 Jug-yeo-ju-neun Yeo-ja CinemaxX 7 20:00 Uncle Howard CineStar 7 22:00 TEDDY AWARD Jury Reception TEDDY'S INN/Südblock 22:30 Jonathan CinemaxX 7 22:30 Kiki CineStar 7 22:45 Já, Olga Hepnarová CineStar 3

13.02.

SATURDAY

11:00 Antes o tempo não acabava CineStar 8 12:30 Rara Zoo Palast 1 www.cine-plus.de

18:30 Jug-yeo-ju-neun Yeo-ja Il KINO 19:30 San Fu Tian CineStar IMAX 20:00 Kater International 20:00 Uncle Howard HAU Hebbel am Ufer (HAU1) 20:15 Já, Olga Hepnarová Cubix 7&8 20:15 Jonathan CineStar 3 21:30 A Boy Needs a Friend Akademie der Künste 21:30 O Pássaro da Noite Akademie der Künste 22:00 Mãe só há uma Zoo Palast 2

SUNDAY

12:00 Anders als die Andern Zeughauskino

14:00 Little Men CinemaxX 3 14:00 The Watermelon Woman International 14:00 Parting Glances International 14:30 Der Ost-Komplex CineStar 7

MONDAY 14:00 Rara CinemaxX 3

Zoo Palast 2

16.02. TUESDAY

15:00 O Pássaro da Noite Kino Arsenal 1

14:30 Mapplethorpe: Look at the Pictures CineStar 7

12:00 Strike a Pose CineStar 7

15:00 A Boy Needs a Friend Kino Arsenal 1

15:00 Quand on a 17 ans Friedrichstadt-Palast

14:30 Mapplethorpe: Look at the Pictures Colosseum 1

15:15 Zona Norte CineStar 3

16:00 Der Ost-Komplex Colosseum 1

15:00 En la azotea CinemaxX 1

15:30 Rara Toni & Tonino

17:00 Mamma vet bäst CinemaxX 1

16:00 Moms On Fire CinemaxX 5

17:00 Mapplethorpe: Look at the Pictures

17:00 O noapte in Tokoriki CinemaxX 1

17:00 1 Berlin-Harlem International

17:30 Kater CineStar 3

17:00 Strike a Pose International

17:00 Inside the Chinese Closet CineStar 7

20:00 Jonathan Cubix 7&8

20:00 Théo et Hugo dans le même bateau International

17:30 Balcony CinemaxX 1

International

17:30 Mamma vet bäst CinemaxX 1

12:00 Inside the Chinese Closet CineStar 7

20:30 Machboim Kino Arsenal 2

14:30 In the Nest HAU1

17:45 Théo et Hugo dans le même bateau CineStar 3

12:00 Liebmann Colosseum 1

20:30 The Lamps Akademie der Künste

15:00 The Lamps Kino Arsenal 1

19:30 Die Betörung der blauen Matrosen Zoo Palast 2

14:30 Balcony CinemaxX 1

22:30 Théo et Hugo dans le même bateau Cubix 7&8

15:30 En la azotea Filmtheater am Friedrichshain

19:30 Liebmann CinemaxX 3

14:30 Brüder der Nacht CineStar 7

22:30 Jonathan Union Filmtheater 1

17:00 Reluctantly Queer Colosseum 1

19:30 Looking for Langston Zoo Palast 2

17:00 Moms On Fire Colosseum 1

22:30 Mãe só há uma Colosseum 1

17:00 Zona Norte CineStar 7

20:00 Little Men International

17:30 O noapte in Tokoriki CinemaxX 1

22:45 Nunca vas a estar solo CineStar 3

17:30 Inside the Chinese Closet Cubix 7

20:00 Nunca vas a estar solo CinemaxX 7

17:45 Jug-yeo-ju-neun Yeo-ja CineStar 3

23:00 Tras el cristal Kino Arsenal 2

18:00 The Watermelon Woman Cubix 8

20:00 Brüder der Nacht CineStar 7

17:45 Strike a Pose Cubix 8

18.02.

19:00 Antes o tempo não acabava Zoo Palast 1

20:30 Tras el cristal Kino Arsenal 2

18:00 Je, tu, il, elle

22:00 Reluctantly Queer CinemaxX 3 22:00 Die Wiese der Sachen CineStar IMAX 23:00 Tongues Untied Kino Arsenal 2

17.02.

WEDNESDAY 10:00 Queer Academy Film Summit STATION-Berlin

10:30 Take Your Partners CinemaxX 1

International

19:00 San Fu Tian Zoo Palast 1 20:00 Toute une nuit International 20:00 Weekends CineStar 7 20:30 Fugue Akademie der Künste 20:30 Liebmann CinemaxX 1 22:30 Uncle Howard CineStar 7

THURSDAY 10:00 San Fu Tian CinemaxX 7

11:30 Take Your Partners CinemaxX 3 13:00 Mamma vet bäst HKW 13:00 O noapte in Tokoriki HKW 14:00 Já, Olga Hepnarová International 14:30 Brüder der Nacht Colosseum 1 14:30 Weekends CineStar 7

20:00 Hedwig and The Angry Inch International 20:00 Marble Ass Kino Arsenal 2 20:00 Kiki CineStar 7 20:15 Nunca vas a estar solo Cubix 7 22:00 Kater Zoo Palast 2 22:30 Who's Gonna Love Me Now? CineStar 7 23:00 Machboim Kino Arsenal 2

19.02. FRIDAY

09:30 Quand on a 17 ans Friedrichstadt-Palast 10:00 Antes o tempo não acabava CinemaxX 7 12:00 Zona Norte CineStar 7 13:00 Balcony HKW 14:30 Strike a Pose Colosseum 1 14:30 Kiki CineStar 7 15:30 Take Your Partners Filmtheater am Friedrichshain 16:00 Zjednoczone stany milosci Berlinale Palast 16:00 Reluctantly Queer CinemaxX 5 16:30 Toro CinemaxX 3 17:00 Der Ost-Komplex CineStar 7 17:00 San Fu Tian Cubix 9 17:30 Uncle Howard Cubix 7 17:30 En la azotea CinemaxX 1

30. TEDDY AWARD / www.teddyaward.tv

Kino International Karl-Marx-Allee 33 10787 Berlin

20:00 Mãe só há uma CinemaxX 7

14:30 Inside the Chinese Closet CineStar 7

14:00 Toro CinemaxX 5

20:30 Nitrate Kisses Kino Arsenal 2

16:00 Reluctantly Queer CinemaxX 5

14:30 Take Your Partners CinemaxX 1

21:00 30. TEDDY AWARD Ceremony STATION-Berlin

16:00 The Lamps CinemaxX 5

16:00 A Boy Needs a Friend International

Veranstaltungsorte

22:00 Moms On Fire CinemaxX 3

17:00 Jug-yeo-ju-neun Yeo-ja International

16:00 En la azotea International

Akademie der Künste Hanseatenweg 10 10557 Berlin

22:30 Nunca vas a estar solo CinemaxX 7

17:00 Little Men Cubix 9

16:00 Moms On Fire International

23:00 Marble Ass Kino Arsenal 2

17:30 Balcony CinemaxX 1

16:00 Reluctantly Queer International

23:30 TEDDY 30 BIRTHDAY PARTY STATION-Berlin

17:30 Kiki Cubix 7

16:00 The Lamps International

20.02.

21:00 Zjednoczone stany milosci Friedrichstadt-Palast

16:00 O noapte in Tokoriki CinemaxX 5&6

21:30 Théo et Hugo dans le même bateau Zoo Palast 1

16:00 O Pássaro da Noite International

22:30 Kater Colosseum 1

16:00 Mamma vet bäst CinemaxX 5&6

22:30 Zjednoczone stany milosci International

16:30 Anders als die Andern Zeughauskino

22:30 Mapplethorpe: Look at the Pictures

17:30 Strike a Pose Cubix 7

SATURDAY 09:30 Zjednoczone stany milosci Friedrichstadt-Palast 10:00 Zjednoczone stany milosci Zoo Palast 1 12:30 Mãe só há uma CinemaxX 7 14:00 Jonathan International 14:30 O noapte in Tokoriki CinemaxX 1 14:30 Antes o tempo não acabava Cubix 9 14:30 Mamma vet bäst CinemaxX 1

www.cine-plus.de

CineStar 7

21.02. SUNDAY 10:00 Little Men HKW 13:00 Rara HKW

19:30 Quand on a 17 ans Berlinale Palast 20:00 Brüder der Nacht CineStar 7 20:15 Já, Olga Hepnarová Cubix 7&8

IL Kino Nansenstraße 22, 12047 Berlin

VENUES

Kino Arsenal Potsdamer Str. 2 10785 Berlin

Berlinale Palast Marlene-Dietrich-Platz 1 10785 Berlin

CinemaxX Potsdamer Straße 8 10785 Berlin

CineStar Potsdamer Str. 4 10785 Berlin

Colosseum Schönhauser Allee 123 10437 Berlin

Cubix Alexanderplatz/ Rauthausstraße 1 10778 Berlin

Filmtheater am Friedrichshain

Hau/Hebbel am Ufer Stresemannstraße 29 10963 Berlin

Haus der Berliner Festspiele Schaperstraße 24 10719 Berlin

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

STATION-Berlin Luckenwalderstraße 4-6, 10963 Berlin

Südblock Admiralstr. 1-2, 10999 Berlin

Kino Toni & Tonino Antonplatz 1, 13086 Berlin

Union Filmtheater Bölschestraße 69, 12587 Berlin

Zeughauskino Unter den Linden 2, 10117 Berlin

Bötzowstr. 1-5, 10407 Berlin

Friedrichstadtpalast Friedrichstraße 107 10117 Berlin

Zoopalast Berlin Hardenbergstraße 29a, 10787 Berlin

BRÜDER DER NACHT BROTHERS OF THE NIGHT

INSIDE THE CHINESE CLOSET

KIKI

DIRECTOR Patric Chiha PANORAMA Austria 2016 88’, Romani/Bulgarian/German

DIRECTOR Sophia Luvarà PANORAMA Netherlands 2015 72’, Mandarin/English

DIRECTOR Sara Jordenö PANORAMA Sweden/USA 2016 95’, English

16.02. / 20:00 CineStar 7

16.02. / 17:00 CineStar 7

12.02. / 22:30 CineStar 7

17.02. / 14:30 CineStar 7

17.02. / 12:00 CineStar 7

13.02. / 16:00 Colosseum 1

18.02. / 14:30 Colosseum 1

18.02. / 17:30 Cubix 7

18.02. / 20:00 CineStar 7 19.02. / 14:30 CineStar 7

21.02. / 20:00 CineStar 7

20.02. / 14:30 CineStar 7

20.02. / 17:30 Cubix 7

Andy’s father knows that his son is gay but, determined to conform to social conventions, he urges him to find a lesbian who is willing to marry him. Cherry has already entered into a bogus marriage, but now her parents expect their only daughter to provide them with a grandchild so that they can finally put an end to their neighbours’ gossiping. In China, gay men and lesbians are under enormous pressure to spare their parents the perceived shame of having an unmarried child without offspring. Homosexuality may no longer be illegal, but understanding for a life lived outside traditional heterosexual norms is rare. Director Sophie Luvarà sensitively accompanies Andy and Cherry in their often absurd attempts to do the right thing: bogus gay-lesbian marriage markets, agencies for surrogate mothers, price lists for the adoption of newborns and their constantly carping parents who will simply not let up. Both Cherry and Andy succeed in carving out a little piece of freedom. But they also know that their personal coming out will, in turn, force their parents into a closet, since they do not want to acknowledge their children’s homosexuality in public.

Twenty-five years after Paris is Burning, the 1991 Teddy Award-winning film that brought Berlinale audiences closer to New York’s ballroom scene, Kiki provides an insight into the world of today’s young black LGBT community, by taking a look at the balls where participants of voguing competitions compete for trophies, and by listening to proponents talking about their dreams and their lives. In contrast to the time when Paris is Burning was made, these balls are no longer born of a subculture but are instead organised by queer youth welfare organisations. The enlightened manner in which the young people discuss gender-political questions today and how naturally they use terms such as heteronormativity and gender deconstruction is striking. The city, the social structures and the gender-political consciousness may have changed since the 1980s but what remains is the desire for acceptance and a safe place to celebrate one’s individuality. Even if coming out would seem to be easier today for some of the protagonists and same-sex marriages are now legalised in the US, co-writer Twiggy Pucci Garçon puts it straight: “There is so much left to fight for.”

@ WildART Film

Vienna as a non-stop nocturnal land and doss house, the flip side of its daytime persona, devoid of schmaltzy waltzes and‘Mozartkugel’ chocolates. The protagonists of this documentary are young Bulgarian Romani who have wound up in Vienna due to poverty and the need to earn money for their families, and who are now offering their services at a hustler bar called ‘Rüdiger’ in the working class Margareten district. They wait, smoke, drink, play pool, dance, show off, fool around like young bulls, talk about their meagre excesses, their families and prostitutes, exchange experiences and information about the ‘bizness’. In the midst of a clash of cultures and traditions, they lead lives caught between worlds, between reality and illusion; transitory, deceptive, and fleeting. Gus Van Sant meets James Bidgood meets Pasolini: Brothers of the Night is a hybrid, imbued with a rich baroque semi-darkness, deliberately and disturbingly oscillating between documentary and dramatised scenes. This is no moralising know-all ballad about hustlers, but rather a tender and empathetic hymn to the grim poetry of survival and the solidarity amongst the ostracised and the outsiders.

@ Naiti Gámez

30. TEDDY AWARD / www.teddyaward.tv

MAPPLETHORPE: LOOK AT THE PICTURES

DER OST-KOMPLEX THE GDR COMPLEX

STRIKE A POSE

DIRECTOR Fenton Bailey, Randy Barbato CAST Robert Mapplethorpe, Edward Mapplethorpe, Fran Lebowitz, Brice Marden PANORAMA USA/Germany 2016 - 108’, English

DIRECTOR Jochen Hick PANORAMA Germany 2016 90’, German

DIRECTOR Ester Gould, Reijer Zwaan PANORAMA Netherlands/Belgium 2016 83’, English

14.02. / 17:00 International

13.02. / 17:00 International

15.02. / 17:00 International

15.02. / 14:30 CineStar 7

14.02. / 14:30 CineStar 7

16.02. / 12:00 CineStar 7

16.02. / 14:30 Colosseum 1

15.02. / 16:00 Colosseum 1

17.02. / 17:45 Cubix 8

20.02. / 22:30 CineStar 7

19.02. / 17:00 CineStar 7

19.02. / 14:30 Colosseum 1 21.02. / 17:30 Cubix 7

@ Robert Mapplethorpe Foundation. Used by permission

Jochen Hick @ Galeria Alaska Prod.

@ Lisa Guarnieri

He was a catalyst and an illuminator, but also a magnet for scandal. From an early age Robert Mapplethorpe had but one goal which he single-mindedly pursued: to ‘make it’ not just as an artist but also as an art celebrity. He could not have picked a better time: it is the Manhattan of Warhol’s Factory, of Studio 54 and, following the Stonewall riots, an era of unbridled hedonistic sexuality. His first solo exhibition in 1976 already unveils his topics: erotic depictions, flowers and portraits. He is gaining notoriety through his series of explicitly sexual photographs from the gay sadomasochistic scene as well as nude pictures of black men. Fenton Bailey and Randy Barbato, who took part in the Panorama in 2003 and 2005, were given unrestricted access to Mapplethorpe’s archives for their documentary Mapplethorpe: Look at the Pictures in which this exceptional artist talks candidly about himself in recently discovered interviews. At the same time, the testimonials of friends, lovers, family members, celebrities and models help paint quite a critical picture of this complex key figure of twentieth century photography.

Even now, twenty-five years after German reunification, historians are still debating whether the GDR was an illegitimate state. In his current work, Jochen Hick, several of whose films have screened in the Panorama, tells the story of ex-GDR citizen Mario Röllig. Hick accompanies him as he visits his parents and his former colleagues but also the sites of his attempted flight from the GDR and his incarceration. Röllig was arrested in Hungary in 1987 for attempting to flee the German Democratic Republic; in 1988 the Federal Republic of Germany purchased his freedom. Today he regularly talks about his experiences in schools; he also volunteers as a guide at the former Stasi prison in Hohenschönhausen in Berlin that is now a memorial. Hick stays close to his subject at all times but remains neutral, instead observing and asking questions from behind the camera. In confrontations with GDR-sympathisers Rölling is accused of distorting history and it becomes abundantly clear that the battle to have the last word on how the history of the GDR should be interpreted is riddled with taboos and fraught with individual traumas.

For her ‘Blond Ambition’ tour in 1990, pop superstar Madonna was looking for performers who knew how to vogue. Out of countless hopefuls, the gay dancers Salim, Kevin, Carlton, José, Luis and Gabriel were chosen along with breakdancer Oliver, the only straight guy. The tour was accompanied by a film crew and Madonna cast herself in the role of mother figure of her stage family. The boys soon found fans among homosexual youths who saw them as role models, while the tour came to epitomise Madonna’s commitment to gay liberation and the acknowledgement of AIDS. But the idyll fell apart when Gabriel, Kevin and Oliver sued against their involuntary outing as gay men brought about by the film In Bed with Madonna. In 1995 Gabriel died of AIDS-related illness, while the others continued to pursue their professional careers. Now, twenty-five years after their time together, the six surviving performers are reunited and long-buried secrets are aired. The filmmakers excel at telling the stories of these very different dancers whilst carefully calling into question the official version of events in order to edge closer to the truth.

www.cine-plus.de

UNCLE HOWARD

WEEKENDS

DIRECTOR Aaron Brookner CAST William S. Burroughs, Jim Jarmusch, Robert Wilson, Tom DiCillo PANORAMA Great Britain/USA 2016 96’, English

DIRECTOR Lee Dong-ha PANORAMA South Korea 2016 98’, Korean

12.02. / 20:00 CineStar 7

14.02. / 22:00 CineStar IMAX

13.02. / 14:30 CineStar 7

17.02. / 20:00 CineStar 7

13.02. / 20:00 HAU Hebbel am Ufer (HAU1)

18.02. / 14:30 CineStar 7

17.02. / 22:30 CineStar 7 19.02. / 17:30 Cubix 7

@ Ryan Muir

After Howard Brookner, director of two documentaries and a feature film, died from AIDS related illnesses at the age of 34 in 1989, his slender oeuvre was in danger of being forgotten – until his nephew Aaron decided to preserve his uncle’s legacy and to digitalise his first film, the cult classic Burroughs: The Movie (1983). This endeavour led to the discovery of a number of other gems stored in the godfather of Beat’s legendary ‘bunker’ in New York’s Bowery district. This rich archive of material, shot by film maniac Brookner from 1978 until the end of the 1980s, represents a unique document of the decade’s incredibly vibrant art and gay scene in downtown New York. Aaron Brookner’s film Uncle Howard takes us on an adventurous, artistic and very personal journey back in time, accompanied by conversations with both relatives and his uncle’s close friends (including Robert Wilson, Jim Jarmusch, Brad Gooch and James Grauerholz). The resulting film is a powerful and loving portrait of an artist who left this world far too soon.

Every weekend the gay male choir G-Voice rehearses in Seoul – as they have been doing since 2003. The choir, being a kind of antidote to homophobic Korean society, makes the everyday lives of gay men its theme in an intelligent and humorous way. For their tenth anniversary, the members are planning to give their first big concert with ambitious arrangements, creative choreographies and many new pieces. This really puts these amateur singers to the test because the enthusiasm of some members outweighs their vocal abilities, whilst others work themselves into the ground as voluntary organisers. Besides preparing for their big day, G-Voice are also politically active, singing for equality and serenading against discrimination, and not just at LGBTQ demos. Director Lee Dong-ha succeeds, almost incidentally, in giving an insight into gay life in Korea. He also accompanies choir members and organisers after the rehearsals, when conversations become more personal over a meal. Filmed in the style of glossy music videos, G-Voices’ set-pieces provide a commentary, among other things, on the men’s experiences of Korean society, their conservative families and a gay joy of life.

WHO’S GONNA LOVE ME NOW?

ZONA NORTE

DIRECTOR Tomer Heymann, Barak Heymann PANORAMA Israel/Great Britain 2016 84’, Hebrew/English

DIRECTOR Monika Treut PANORAMA Germany 2016 90’, Portuguese/English

13.02. / 17:00 CineStar 7

13.02. / 17:30 Cubix 7

14.02. / 22:30 CineStar 7

14.02. / 15:15 CineStar 3

15.02. / 20:15 Cubix 7

18.02. / 17:00 CineStar 7

18.02. / 22:30 CineStar 7

19.02. / 12:00 CineStar 7

@ Heymann Brothers Films

Saar has never fulfilled his parents’ expectations. Ever since he defied the rules of his kibbutz and was barred from the settlement community seventeen years ago, as far as his family is concerned, he simply does not exist. He left Israel to live freely as a gay man in London. When a three-year relationship ended, he threw himself into an excess of sex and drugs until he was diagnosed with HIV and was forced to rethink his life. He has finally found a home singing in the London Gay Men’s Chorus where music is giving him the courage for a reunion with his family. This film provides a sensitive, humorous and charming record of how the now forty-year old protagonist and his estranged parents and siblings set off to confront their disagreements and fears. Unexpected warmth and deep rejection become equally challenging. Incidentally, Saar’s intensely personal story also illuminates the fascinating diversity of a communal way of life that is pervaded by culture and religion; he also inspires us with the sincerity of his search for his identity. The film’s numerous energetic and emotional choral scenes lend passionate expression to his message.

Fifteen years after Monika Treut portrayed human rights activist Yvonne Bezerra de Mello working with street kids in Kriegerin des Lichts (Warrior of Light, Panorama 2002), she returns to Rio de Janeiro to document the development and sustainability of the alternative educational project, Uerê. Every day, de Mello provides meals for around 250 children in her institution and offers them a loving, secure and effective learning environment. Her alternative approach to teaching enables the children to overcome learning disabilities that have resulted from experiences of severe violence. In the meantime, the preparations for the Olympic Games and heavy military intervention against the inhabitants of the favelas have created conditions akin to a civil war. Staying very close to her protagonists and employing a sensitive visual approach, Treut examines the effects of urban sociological changes. In Zona Norte she sets off in search of the protagonists of her earlier film. The schoolchildren she portrayed in 2001 seemed to have no future, but her re encounter with them demonstrates how, in the long run, de Mello’s project has given these children a better chance in life.

A BOY NEEDS A FRIEND

BALCONY

EN LA AZOTEA ON THE ROOF

DIRECTOR Steve Reinke FORUM EXPANDED Canada/USA 2015 23’, English

DIRECTOR Toby Fell-Holden CAST Charlotte Beaumont, Genevieve Dunne, Umit Ulgen GENERATION 14PLUS Great Britain 2015 17’, English/Dari

DIRECTOR Damià Serra Cauchetiez CAST Nil Cardoner, Roger Príncep, Biel Estivill, Pol Hinojosa GENERATION KPLUS Spain 2015 12’, Spanish

13.02. / 21:30 Akademie der Künste

16.02. / 17:30 CinemaxX 1

16.02. / 15:00 CinemaxX 1

14.02. / 15:00 Kino Arsenal 1

17.02. / 14:30 CinemaxX 1

18.02. / 15:30 Filmtheater am Friedrichshain

21.02. / 16:00 International

19.02. / 13:00 HKW

19.02. / 17:30 CinemaxX 1

20.02. / 17:30 CinemaxX 1

21.02. / 16:00 International

Tina doesn’t know much about the schoolgirl in the Hijab. She might come from Egypt or Iraq – but what does it matter? She would like to be there for her neighbour, protect her from her tough life at home and in the hood but how comes Tina thinks she knows so much about this foreign girl? Dana starts wondering why the blond girl has been paying her so much attention of late. Prejudice and tentative advances collide head-on in the block.

The heat’s bearing down on the high-rise rooftops of the suburbs. Every day at the same time, five boys climb to the top of one of them to stare at the house next door. Like clockwork, a woman appears, removes her clothes and proceeds to sunbathe in the nude. But this day something’s different. On the roof next door, a naked man seeks relief from the heat under a hose and one of the boys can’t keep his eyes off of him. His buddies don’t fail to notice.

@ Steve Reinke

In this latest installment of his ongoing video essay, “Final Thoughts”, Steve Reinke ostensibly turns to the subject of friendship. A Boy Needs a Friend delves into its topic head on, in particular investigating the notion of queer Nietzschean friendship. Using his signature dry voice over monologue to tie together an eclectic array of disparate images, ranging from found footage collages to digital animation and cell phone video, Reinke sets forth theories about the identity of Stephen King and Joyce Carol Oates, needle point doodles, the upsides of owning both US and Canadian citizenship, and the ability of corpses to have sex. “Final Thoughts” was begun in 2004 as a life project: it will be complete upon Reinke’s death. It is a collection of video essays, a stream of ongoing thoughts and provocative engagements. Forum Expanded screened The Tiny Ventriloquist: Final Thoughts, Series Two in 2012. A Boy Needs a Friend is part of The genital is Superfluous: Final Thoughts, Series Four (2016).

www.cine-plus.de

@ Baris Kaya

FUGUE FUGE

GIRL TALK

MAMMA VET BÄST MOTHER KNOWS BEST

DIRECTOR Kerstin Schroedinger FORUM EXPANDED Germany/Canada 2015 8’, English

DIRECTOR Wu Tsang CAST Fred Moten FORUM EXPANDED USA 2015 4’, English

DIRECTOR Mikael Bundsen CAST Alexander Gustavsson, Hanna Ullerstam, Karl-Erik Franzén GENERATION 14PLUS Sweden 2016 12’, Swedish

17.02. / 20:30 Akademie der Künste

10.02-22.0 2. / 19:00 – 21:00

15.02. / 17:00 CinemaxX 1

18.02. / 15:00 Kino Arsenal 1

Akademie der Künste als Installation

17.02. / 17:30 CinemaxX 1 18.02. / 13:00 HKW 20.02. / 14:30 CinemaxX 1 21.02. / 16:00 CinemaxX 5 21.02. / 16:00 CinemaxX 5

@ Mikael Bundsen

Framed by a grid, an elusive figure performs a number of movements, leaving traces of light on the film emulsion, while short texts are projected onto the figure, obscured by the uneven surface of its body. “In music, a fugue is defined as a contrapuntal compositional technique in two or more voices. It builds on a motif that is introduced at the beginning in imitation and recurs frequently in the course of the composition. Fugue is a formal and physical experiment in order to understand the relationship between image, sound, and movement. The movements and the setting are informed by motion studies that were conducted and filmed at the beginning of the 20th century with the aim to use film making for analyzing motions of manual mechanized labor as well as concepts of biomechanics that elaborate the relation between body and mind as a form of actor’s training. In the film, the movements that are recorded are also printed on the part of the film strip that is read as optical sound by the light sensitive sensor of the projector. What you hear is what you see. The image recurs as movement and the movement recurs as sound.”

Girl Talk features poet and critical theorist Fred Moten dancing in slow motion, or ‘dragged time’, to an a cappella rendition of Betty Carter’s jazz standard “Girl Talk”, here reinterpreted and performed by musician Josiah Wise. Wearing a velvet cloak covered in jewels, Moten turns euphorically in a sunlit garden as the crystals adorning his body refract pink, blue, and green rays. In exploring the figure of the drag queen and the mother, Moten and Tsang, poet and artist, remain unfixed in any one persona.

So, he’s gay. This evening he’s introduced his boyfriend to his mum and later kissed him passionately goodbye in the car. He’s fortunate to have such an open-minded mother – not everyone is as lucky. But she thinks it’s best that he doesn’t tell his father yet. And he certainly shouldn’t make it known in public that he’s gay. A lot of people are prejudiced. Not everyone is as understanding as his mother.

30. TEDDY AWARD / www.teddyaward.tv

MOMS ON FIRE

O NOAPTE IN TOKORIKI A NIGHT IN TOKORIKI

L’OISEAU DE LA NUIT

DIRECTOR Joanna Rytel BERLINALE SHORTS Sweden 2016 12’, Swedish

DIRECTOR Roxana Stroe CAST Cristian Priboi, Cristian Bota, Lulia Ciochin GENERATION 14PLUS Romania 2016 18’, Romanian

DIRECTOR Fernando Santos aka Deborah Krystal, Cindy Scrash, Alda Cabrita, João Pedro Rodrigues FORUM EXPANDED Portugal/France 2015 20’, Portuguese

16.02. / 16:00 CinemaxX 5

15.02. / 17:00 CinemaxX 1

13.02. / 21:30 Akademie der Künste

17.02. / 17:00 Colosseum 1

17.02. / 17:30 CinemaxX 1 18.02. / 13:00 HKW

14.02. / 15:00 Kino Arsenal 1

19.02. / 22:00 CinemaxX 3

20.02. / 14:30 CinemaxX 1

21.02. / 16:00 International

21.02. / 16:00 CinemaxX 5&6

An ordinary neighbourhood in an ordinary town. Two women sit on a sofa and scratch their pregnant bellies. Four days till the due date. The situation is as unbearable as it is unavoidable. It’s simply intolerable. Masturbation isn’t an option, the clitoris can’t even be reached, and the boyfriend is absent, but he’s boring anyway. The only advantage in having another child is that one no longer has to play with the first one. Artist and filmmaker Joanna Rytel uses claymation to candidly address questions and situations that usually go unnoticed.

There’s a party in the Tokoriki nightclub. It’s Geanina’s 18th birthday and the whole village is there. The neon palm is lit up and the DJ is wearing his golden shirt. Alin and his friends ride up in style in the horse-drawn cart and take over the dance floor. But Alin seems to have something on his mind. His eyes sparkle when he sets eyes on Geanina, which doesn’t escape her boyfriend’s attention. Emotions are running high. Will there be an escalation tonight?

@ Indie Lisboa - Associacao Cultural

In the latest of her series of portraits of legendary underground performers, Marie Losier takes us into the world of Fernando, aka Deborah Krystal, the glittering and poetic performer of the Lisbon club Finalmente. Over the last thirty years, Fernando has been performing every night at Finalmente, dressed in golden gowns. O Pássaro da Noite reveals the many skins of Fernando that lay underneath the layers of his colorful fabrics, and – with the help of a large cast of friends and filmmaking colleagues – lets Lisbon’s legends come to life. Alternating and shape shifting between manifestations as mermaid, bird, and lion, Fernando takes us on a journey into the desires and dreams of metamorphosis and myth: From the bright sunlight of a colorful beach to the haunted shadows of a museum at night.

30. TEDDY AWARD / www.teddyaward.tv

RELUCTANTLY QUEER

TAKE YOUR PARTNERS

THE LAMPS

DIRECTOR Akosua Adoma Owusu CAST Kwame Edwin Otu BERLINALE SHORTS Ghana/USA 2016 8’, English

DIRECTOR Siri Rødnes CAST Lily Graham, Mori Christian, George Anton, Reanne Farley GENERATION KPLUS Great Britain 2015 11’, English

DIRECTOR Shelly Silver FORUM EXPANDED USA 2015 4’, English

16.02. / 22:00 CinemaxX 3

17.02. / 10:30 CinemaxX 1

17.02. / 20:30 Akademie der Künste

18.02. / 17:00 Colosseum 1

18.02. / 11:30 CinemaxX 3

18.02. / 15:00 Kino Arsenal 1

19.02. / 16:00 CinemaxX 5

19.02. / 15:30 Filmtheater am Friedrichshain

20.02. / 16:00 CinemaxX 5

20.02. / 16:00 CinemaxX 5 21.02. / 16:00 International

21.02. / 14:30 CinemaxX 1

21.02. / 16:00 International

This epistolary film invites us into the unsettling life of a young Ghanaian man struggling to reconcile his love for his mother with his love for the same-sex desire amid the increased tensions incited by samesex politics in Ghana. Focused on a letter that is ultimately filled with hesitation and uncertainity, Reluctantly Queer both disrobes and questions what it means to be queer for this time in this space.

Why should a girl’s Easter bonnet look any different than the ones the boys wear? Ollie is eight years old and crazy about football and the gunslingers of the Wild West. When it comes time to get ready for the traditional Easter parade at school, Ollie categorically refuses to accept conventional gender roles. With the support of her parents, Ollie finds her own very personal way of dealing with the situation in the end.

“All who want me would like to eat me up. But I am too expansive and am open to all sides, desire this here and that there.” The Baroness Elsa von Freytag-Loringhoven “The Baroness is not a futurist. She is the future.” Marcel Duchamp “The Baroness Elsa von Freytag-Loringhoven, née Plötz, was an unsung member of the New York Dada Movement. She was a poet, artist, vaudeville performer, runaway, rabble-rouser, cross-dresser, and all around public provocateur. She actively did not fit into her historical moment, and like most misfits, suffered for it. As with many women artists throughout history, her cultural legacy has been obscured and in some instances appropriated into the oeuvres of better-known male peers. Some researchers believe that the Baroness was the artist behind “Fountain,” the ready-made urinal attributed to Duchamp. The Lamps details her trip to the Naples Archeological Museum in the early 1900s where she breaks into “Il Gabinetto Segretto,“ a secret room filled with erotic objects from Pompeii.”

@ House Productions

30. TEDDY AWARD / www.teddyaward.tv

1 BERLIN-HARLEM

ANDERS ALS DIE ANDERN DIFFERENT FROM THE OTHERS

BEFORE STONEWALL

DIRECTOR Lothar Lambert, Wolfram Zobus CAST Conrad Jennings, Tally Brown, Sabine Buschmann, Lothar Lambert Federal Republic of Germany 1974 97’, German/English

DIRECTOR Richard Oswald CAST Conrad Veidt, Fritz Schulz, Reinhold Schünzel, Magnus Hirschfeld Germany 1919 50’, silent

DIRECTOR Greta Schiller, Robert Rosenberg CAST Rita Mae Brown, Ann Bannon, Lisa Ben, Gladys Bentley USA 1984 87’, English

16.02. / 17:00 International

14.02. / 12:00 Zeughauskino mit Klavierbegleitung

15.02. / 22:00 Zoo Palast 2

21.02. / 16:30 Zeughauskino mit Klavierbegleitung

A black American soldier stationed in Berlin is confronted with casual racism on a daily basis that also finds expression in unwelcome sexual advances. With cameos from Ingrid Caven, Peter Chatel, R W Fassbinder, Günter Kaufmann, Tally Brown, Dietmar Kracht, Evelyn Künneke.

Germany at the beginning of the 20th century. Celebrated violinist Paul Körner accepts as his pupil young virtuoso violinist Kurt Sivers. The two soon discover feelings for each other, but a blackmailer appears on the scene. Newly restored version.

This documentary portrays the daily lives of homosexuals in the USA before 1969, the year of the riot at New York’s Stonewall Inn that provided the impetus for gay pride and is celebrated annually on Christopher Street Day.

THE ENCHANTMENT OF THE BLUE SAILORS

GENDERNAUTS – A JOURNEY THROUGH SHIFTING IDENTITIES

HEDWIG AND THE ANGRY INCH

DIRECTOR Ulrike Ottinger CAST Valeska Gert, Tabea Blumenschein, Rosa von Praunheim, Barry Tannenbaum Federal Republic of Germany 1975 47’, German/Russian/French/English

DIRECTOR Monika Treut CAST Sandy Stone, Texas Tomboy, Susan Stryker, Max Wolf Valerio Germany 1999 86’, English

DIRECTOR John Cameron Mitchell CAST John Cameron Mitchell, Andrea Martin, Michael Pitt, Alberta Watson USA 2001 95’, English

16.02. / 19:30 Zoo Palast 2

14.02. / 22:00 Zeughauskino

18.02. / 20:00 International

@ Ulrike Ottinger

@ Roland Scheikowski

Hula girls, birds, sailors and the Greek god of queers are among those putting in an appearance in this collage of commercialised everyday life, music and the language of Apollinaire. And yet beyond this hidebound life, another one is possible.

Gendernauts explores transgenderism. San Francisco at the beginning of the new millennium: gender benders and sexual cyborgs make use of new technologies to change their bodies. Identification as male or female is brought into question.

www.cine-plus.de

Hedwig was once called Hansel and lived in East Berlin. After an operation and having crossed the border she now finds herself deserted by love, in pursuit of rock star Tommy. Produced by Christine Vachon, who is receiving a Special Teddy Award in 2016.

JE, TU, IL, ELLE I, YOU, HE, SHE

LOOKING FOR LANGSTON

MACHBOIM HIDE AND SEEK

DIRECTOR Chantal Akerman CAST Chantal Akerman, Claire Wauthion, Niels Arestrup France/Belgium 1974 86’, French

DIRECTOR Isaac Julien CAST Ben Ellison, Matthew Baidoo, John Wilson, Akim Mogaji Great Britain 1989 45’, English

DIRECTOR Dan Wolman CAST Chaim Hadaya, Gila Almagor, Doron Tavori, Efrat Lavie Israel 1979 85’, Hebrew

17.02. / 18:00 International

16.02. / 19:30 Zoo Palast 2

17.02. / 20:30 Kino Arsenal 2 18.02. / 20:00 Kino Arsenal 2

@ Paradise Films

Sunil Gupta @ Sankofa Films

@ Dan Wolman

A woman rearranges and repaints her furniture. She writes letters, only to tear them up and start a new, time and again. She discusses love and desire with a lorry driver – and goes to visit her female lover who allows her to spend the night.

A lyrical consideration of the life of Harlem Renaissance poet Langston Hughes. A multilayered narrative interweaving extracts from his poetry with fantasy sequences, photographs and texts by Essex Hemphill and Bruce Nugent.

1946 in the British Mandate for Palestine: twelveyear-old Uri discovers that his private tutor Balaban is secretly corresponding with a young Arab man. Suspecting his tutor of espionage, the boy informs the Jewish underground.

MARBLE ASS

NITRATE KISSES

PARTING GLANCES

DIRECTOR Želimir Žilnik CAST Vjeran Miladinovi, Nenad Milenkovi, Nenad Rackovi, Lidija Stevanovi Yugoslavia 1995 87’, Serbian

DIRECTOR Barbara Hammer USA 1992 67’, English/French

DIRECTOR Bill Sherwood CAST Richard Ganoung, John Bolger, Steve Buscemi, Adam Nathan USA 1986 90’, English

18.02. / 20:00 Kino Arsenal 2

15.02. / 23:00 Kino Arsenal 2

19.02. / 23:00 Kino Arsenal 2

19.02. / 20:30 Kino Arsenal 2

13.02. / 14:00 International

@ Miodrag Milosevic

@ Barbara Hammer

Merlin has his own way of pacifying the Balkans. He protects women by acting as a kind of lightning rod for the erotic desires of violent men. John, on the other hand, returns to Belgrade after the war to cool overheated blood with violence.

Interweaving German and American archive footage from the 1930s with a contemporary look at four homosexual couples, this documentary sets out in search of lost images of gay and lesbian culture.

Robert is about to move from New York to Kenya. He leaves behind Michael, who still harbours feelings for his ex, Nick, who is battling AIDS. Bill Sherwood’s only film remains one of the key works of independent New York cinema of the 1980s.

30. TEDDY AWARD / www.teddyaward.tv

TONGUES UNTIED

TOUTE UNE NUIT A WHOLE NIGHT

TRAS EL CRISTAL IN A GLASS CAGE

DIRECTOR Marlon T . Riggs CAST Essex Hemphill , Kerrigan Black, Blackberri , Bernard Branner USA 1989 55’, English

DIRECTOR Chantal Akerman France/Belgium 1982 90’, French

DIRECTOR Agustí Villaronga CAST Günter Meisner, David Sust, Marisa Paredes, Gisela Echevarría Spain 1985 112’, Spanish

15.02. / 20:30 Kino Arsenal 2

17.02. / 20:00 International

16.02. / 20:30 Kino Arsenal 2

16.02. / 23:00 Kino Arsenal 2

17.02. / 23:00 Kino Arsenal 2

@ Signifyin’ Works

@ Paradise Films

Interspersing performance and poetry with interviews and documentary scenes, this ground-breaking film addresses homophobia and racism against Afro-American gay men; it also captures the community coming out to vogue and take part in protest marches.

Toute une nuit is an encyclopedia of desire, an exploration of the gestures of lust and denial, but above all an attempt to combat, via film, the sense of alienation and loneliness that dominated Akerman’s oeuvre in such a drastic way.

THE WATERMELON WOMAN

DIE WIESE DER SACHEN THE MEADOW OF THINGS

DIRECTOR Cheryl Dunye CAST Guinevere Turner, Valarie Walker, Lisa Marie Bronson, Camille Paglia USA 1996 90’, English

DIRECTOR Heinz Emigholz CAST Eckhard Rhode, Wolfgang Müller, Andreas Coerper, Hilka Nordhausen Federal Republic of Germany 1974 88’, German

14.02. / 14:00 International

16.02. / 22:00 CineStar IMAX

18.02. / 18:00 Cubix 8

@ Dancing Girl Productions

@ Heinz Emigholz

Working on a film project, Cheryl becomes consumed by her search for a black lesbian actress from the 1930s known only as the ‘Watermelon Woman’ who had an affair with white Hollywood director Martha Page.

Every decade has its own gateway to heaven. Clonetown 1974 to 1979: a terrorist defector named Charon sits on the edge of oblivion and commentates on the imminent putrification of an abducted car dealer.

www.cine-plus.de

Former Nazi concentration camp doctor Klaus committed appalling sex crimes against boys. After the war, living incognito in Spain, a suicide attempt leaves him bedridden – until a new carer rekindles his depraved desires.

BERLINALE TALENTS TALENTS TEDDY TALK: THE FINALLY NEW QUEER CINEMA?

IN THE NEST: DRAMA SERIES MADE BY TALENTS

with Christine Vachon, Bruce La Bruce, and more moderated by Toby Ashraf in cooperation with Berlinale Panorama

with Filipe Matzembacher, Marcio Reolon, Jessica Luz, Germano de Oliveira moderated by Florian Weghorn

Thursday, February 18th, 2016

11:30 - 13:30 HAU3 / Hebbel am Ufer - Top Floor

14:30 - 16:00 HAU1 / Hebbel am Ufer, Stresemannstraße 29

Inaugurated in 1987, the Teddy-award has made the Berlinale a home for queer cinema. It stands for the recognition of the many facets of a cinema that resists sexual stereotypes and any kind of heteronormativity. To celebrate Teddy’s 30th birthday, Berlinale Panorama is screening a retrospective of some of the crucial moments from the emerging queer cinema culture of the last three decades. This aligned session breaks with the panel format and invites Talents and festival filmmakers to an interactive “town hall meeting”-style discussion on the present and future of queer cinema worldwide. How can we define queer cinema, which, as a matter of principle, eludes any plain definition? Is “queer” more a cinematic art form than a character's concern? What has been the evolving role of queer cinema lately – for filmmakers and audiences in different cultures and societies? Please come out with your opinions.

Brazilian co-directors Filipe Matzembacher (Talents 2016) and Marcio Reolon (Talents Buenos Aires 2014) charmed Berlinale audiences last year with the world premiere of Seashore, their first feature film. Their newest work, The Nest, is a melancholic and captivating mini-series that follows a young man, who while searching for his long-missed brother, finds a home amongst his brother’s friends and memories. The Nest was produced by the couple’s company with the contributions of their frequent collaborators, including producer Jessica Luz (Talent Project Market 2016), sound designer Tiago Bello (Talents 2013) and editor Germano de Oliveira (Talents 2016). The crew reunites for this screening of two episodes and to talk about how behind–the-scenes teamwork is a recipe for onscreen success.

www.cine-plus.de

Fotos: http://www.berlinale-talents.de/

The event’s programme includes: . Panel discussions Re-imagining the Queer Archive and Queer Film Fes vals in Prac ce.

FILM SUMMIT 2016

. The tradi onal Programmers/Queer Academy Mee ng and the Queer Connec on. . Workshop Digital Security for Beginners Wednesday, February 17th, 2016 STATION-Berlin

10.00 am Opening: Wieland Speck, Berlin, Curator of the Panorama at the Berlinale

1.30 pm In Conversa on with Chris ne Vachon, New York, Film producer/Special TEDDY AWARD 2016

10.15 am Key Note: Bob Hawk, Film and Fes val Advisor

2.15 pm Panel II: Queer Film Fes vals in Prac ce Programming and Cura ng Strategies

10.30 am Key Note: Jan-Christopher Horak, Los Angeles, Director of the UCLA Film & Television Archive

3.45 pm Break

10.45 am Panel I: Re-imagining the Queer Archive

4.00 pm Programmers/Queer Academy Mee ng + the Queer Connec on

12.15 pm Lunch break

Mit freundlicher Unterstützung der Bundeszentrale für poli sche Bildung - bpb

30. TEDDY AWARD / www.teddyaward.tv

Interview with

Wieland Speck by Johanna Mitz

sically an analysis of the procedures of the art world in this time – and you are getting a great insight and understanding of the works of Robert Mapplethorpe. “Uncle Howard” depicts the underground personality Howard Brookner who died of AIDS in the late 80s. We had films of his in the festival in the early 80s, like “Burroughs”. His nephew, Aaron Brookner, made a film about his uncle because he now found material stashed away in Burrough’s famous ‘bunker’. And the German fiction film “Jonathan” which tells us of a young farmer whose father is sick with cancer. The boy has problems with the father because the mother disappeared and he never understood why – as it turns out, the father had a gay life.

How are the preparations going? The worst is done! And now we can already have a look at this year‘s programme with all the movies which are in: We have a very strong male gay emancipatory-aspect in this year. The movies show stories of men who I call “100 percent human beings” – men that clean up after themselves and are aware of their emotional household. One of those amazing and radical works is “Théo et Hugo dans la même bateau” by Olivier Ducastel and Jacques Martineau, who won a TEDDY for the film “Drôle de Félix” in 2000. Can you point out one or two highlights of this year’s programme? Sure, “I, Olga Hepnarova” for example is a film that gets under your skin. A fictional film based on the true story of a young lesbian woman in the 70s who feels so threatened by family norms and society that she seeks her way out as a terrorist. She feels injustice, because society doesn’t want her to be like she is. She ends up killing eight people in a vengeance and gets sentenced to death. She was the last woman hanged in the Czech Republic. It opens the Panorama programme because of the reflection it provokes on gender, style, storytelling and the death penalty which is one of our focuses this year. Two documentaries take place in the New York underground art world: “Mapplethorpe” and “Uncle Howard”. “Mapplethorpe” is a rather glossy film made by the American directorial couple Fenton Bailey and Randy Barbato who also made the brilliant documentary “Inside Deep Throat”. Their recent film shows the highly expensive art world and contains ba-

And there are also movies from the sections “Competition” and “Generation”, right? Yes, there are two movies from “Competition” competing for a TEDDY AWARD this year. The first one is “United States of Love” which contains a tale of lesbian desire about a woman in love stalking her neighbour. The other one is the new film by André Téchiné, called “Being 17” – a senstitive film about the relationship between two teenage boys. And from Generation we have for example the movie “Rara” from Chile, which depicts a lesbian family story about two mothers and their two children. They are getting in trouble because one kid paints a picture in school of her two mothers and later the father tries to get custody of the kids which reflects the ongoing struggle with conservative people. Basically, it is a story about the modern problems of same sex- or patchwork families.

30. TEDDY AWARD / www.teddyaward.tv

I, Olga Hepnarová

Are there countries which are standing out this year? We have several films that give us an inside into the Chinese queer world which is absolutely new on that level. “Inside the Chinese Closet” is following a woman who is leading a lesbian life. But her parents want her to have a child. The male gay protagonist is in the same situation, so the families don’t talk about the homosexuality of their children and their kids have to fit in the heterosexual family structure. And the more open the queer children become and the more out of the closet they are, the more in the closet the parents become. Another movie from China is “Dog Days”. The protagonist, a woman dancer in a night club, tries to find her baby after it had disappeared with her boyfriend. She meets a gay dancer who helps her to find the guy. So we have the gay character and the straight woman, both working in the same field, becoming sidekicks hunting down the lover of them both because it turns out this man has a thing going with the boy. It´s a bisexual story, which is rare!

Jonathan

Christine Vachon is also coming... Yes, Christine Vachon will be there and will be awarded with the Special TEDDY AWARD. She is one of the most important film producers of the American independent cinema. Christine made a dozen of films we had in our programme over the years. She produced for example “Poison” by Todd Haynes which won the TEDDY in 1991. So, you could say, she has been with the TEDDY basically from the beginning. Her last TEDDY-winning movie was “Hedwig and the Angry Inch” which is the film that she wanted to be screened in her honour in the “TEDDY 30”-Retro.

Uncle Howard

Can you tell us about a special film in the section of documentary and essay films? There we have “Strike a Pose” about Madonna’s queer dancers in her famous “Blond Ambition Tour” which were on stage when Madonna was giving a very important political speech in solidarity with people with HIV/AIDS. While she was doing that, you had her dancers being shocked because they felt like they were being outed. Two or three of them even tried to sue her. They were an example for young queer men as role models but they were not ready to digest everything that happened to them, while being in a famous rock star show. The movie is about how they felt about the situation back then and how they are today.

Hedwig an the Angry Inch

What is the “TEDDY 30”-Retro? The idea is to keep queer film history alive. Nothing is more important in our eyes, so that it will not fade away, for we are constantly facing marginalization what concerns the emancipation movement. In this retrospective we are presenting films that made us create the TEDDY. So we have partially a pre-TEDDY programme of rare must-sees, but one third of the movies are also TEDDY-winning films that are very difficult to get, so don’t miss them!

Tell us about the “Queer Academy” Conference. Who will be there and what will be the topics? There will be two panel discussions. One of the subjects will be ‘Queer Archives and Cultural Memory’. We have guests from the “Deutsche Kinemathek” and the head of the UCLA film department in Los Angeles/the Legacy Project of L.A. Outfest. As an example of their work we

Thanks for the interview and all the informations, we´re very excited to watch the films now! You´re welcome!

30. TEDDY AWARD / www.teddyaward.tv

show the first gay film in film history “Anders als die Andern” (Different from the Others) by Richard Oswald in a newly restored version. The film was made in 1919 just between the first World War and the Weimar Republic and got destroyed in the 1920s because of a law on film-censorship. Therefore we don’t have the full film. And the other topic is, of course, ‘Queer Film Festivals’ and how we can collaborate further to make them successful. Here festival makers will talk about their experience, obstacles they faced and how it is possible to overcome problems.

TEDDY 30 CEREMONY HOST: Jochen Schropp

Jochen Schropp is the host of numerous show formats on German television. In 2011, he received the Bavarian TV Award for his hosting. In 2010, 2011 and 2014, he was nominated for the German TV Award as Best Entertainer. He has a successful career as an actor: his breakthrough performance happened in 2002 when he starred in the TV‐series “Sternenfänger” alongside Nora Tschirner. Among other notable TV appearances he is Dr. Stabroth in “Polizeiruf 110”. For his role in the TV‐ series “Zwei Engel für Amor” he was nominated for the Grimme Award. Jochen Schropp moderates many charity events, like the Cologne Aids‐Gala and the Rosenball in Vienna. Since 2012, he has been hosting the TEDDY AWARD.

John Grant It’s been the most spectacular of journeys, from a place in time when John Grant feared he’d never make music again or escape a life of addiction, to winning awards, accolades and Top 20 chart positions, and collaborating with Sinead O’Connor, Goldfrapp, Elton John and Hercules & Love Affair. The fact that he subsequently won a Best International Male Solo Artist nomination at the 2014 BRITS alongside Eminem and Justin Timberlake, seemed like some fantasy dreamt up in a moment of outrageous hubris. In 2015, he released his third album, the invitingly titled Grey Tickles, Black Pressure, a veritable tour de force that further refines and entwines his two principal strands of musical DNA, the sumptuous tempered ballad and the taut, fizzing electronic pop song.

Anna Naklab Anna Naklab revived the Reamonn Classic “Supergirl” last year and went through the rooftop with it. To be exactly, to the top of the charts! Already in 2013, she sang a cover version of Chris Isaacs “Wicked Games” which got produced by a friend and was honoured with a platinum record in the Netherlands and Australia. With tracks such as “Swept Away” or “Something Near”, the 22‐year old singer proofs how perfectly her song writing talent and her unique voice match. This year, she will perform at the TEDDY ceremony and we are all looking forward to getting blown away by the power of her voice.

Younotus There are a lot of possible ways to spend time with music and they use them all: YOUNOTUS is a duo that produces together, comes out on stage as a DJ Team, studies music and has its own label. Tobias and Gregor come from different parts of Germany and have been living in Berlin for several years. While the majority of young people gets lost in the club scene of Berlin, the duo met exactly there: one was keen on being a DJ, the other a producer. They swapped ideas, grew together and since then developed within their genre – Deep and Tech House. With four hands on the mixer, the two quickly prooved that they like to work with catchy vocals as much as they like to leave them behind!

www.cine-plus.de

& BIRTHDAY PARTY ARTISTS Kovacs Her dark voice and her passion make her music different from all the rest. Her radical emotionalism and the abyss‐deep soul that she brings to her songs seem to turn her innermost self inside out. Her raw style lead to comparisons with Portishead or Amy Winehouse. “This gloomy sound results from my voice and the arrangements, but also from the fact that we compose everything in a minor key. I like these fluctuations of moods, my music has soul.” Not surprising since her influences are mainly from the past. “I listen to lots of Billie Holiday, Etta James, Ella Fitzgerald, Nina Simone, Dinah Washington...Tina Turner and Janis Joplin are also favourites of mine. Female singers with a personality, who really lived or live.”

Virginia feat. Steffi & Dexter

For real electronic music and party fans, Virginia, Steffi and Dexter will be playing live. Virginia and Steffi are resident DJs at Berghain’s Panorama Bar and infamous for their wild House and Electro sets. Not only are they prolific producers but Virginia is also an exceptional singer, with a beautiful soulful voice. For the TEDDY AWARD show they’ll be joined by DJ and producer Dexter for their new joint live set that will serve as a glimpse into Virginia’s vocal‐rich album, to be released on Ostgut Ton in spring.

VJ Alkis After he had lost any joy from his work as a journalist, he had to become something else. In 2007, he got his initial spark at Pornfilm Festival in Berlin, where he saw some excellent VJs at the party. It all went fast from there: gigs abroad, residency at Vienna Jewish queer Kibbutz club and at the men‐party Pitbull in Vienna. When somebody asks him, what he is doing, he mostly replies “video‐collages”. Clips that he prepares and mixes live on stage and which only last a few seconds. He uses pictures from popular culture, from blockbusters to Youtube. Nothing is safe from his scissors. Layer by layer these pictures are applied one over the other and new combinations are created from scratch – always live, always made specifically for the unique night.

BrassAppeal Funny, feminine, fabulous. BrassAppeal is a mobile women’s band which enchants the audience with their exciting and intelligent performances since 2003. At home in all genres and ready to perform a surprising and original programme, BrassAppeal stands for great entertainment, which will make you watch, listen and laugh. Ideally casted, the four professional musicians play popular melodies in witty and funny arrangements. The marching band consists of Katja Lau – alto-saxophone, Meike Goosmann – tenor- and soprano-saxophone, Natascha Zickerick – tuba and Almut Lustig on drums.

30. TEDDY AWARD / www.teddyaward.tv

Credits / Impressum The Programme Guide for the 30th TEDDY AWARDs appears on the occasion of the 66th Berlin International Film Festival 2016, 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 30. TEDDY AWARD erscheint anlässlich der 66. Internationalen Filmfestspiele Berlin 2016, 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 Genthiner Str. 6, 10785 Berlin Tel: +49-30-26480-100 - www.teddyaward.org

Editor / Redaktion

Translation / Übersetzung

Contributing authors / Gastautoren

Advertisements / Anzeigen

Philipp-Sebastian Schmidt

Daria Tashkinova

Marisa Balz, Egbert Hörmann, Dieter Kosslick, Anke Leweke, Michael Müller, Johanna Mitz, Wieland Speck

Eva-Maria Krusch, Klaus Mabel Aschenneller, Harry Baer

Production Manager / Herstellungsleiterin

Grabner|Beeck|Kommunikation

Press relations / Presse

Eva-Maria Krusch

TEDDY 30 ART WORK

Special Thanks to / Besonderer Dank an

Cabine

Paz Lazaro, Wieland Speck, Michael Stütz, Bartholomew Sammut, Marco Urizzi von Plach, Sascha Wiswedel

Design & Layout / Gestaltung & Satz Cabine / Olivier Husson

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 / Brillant Augenoptik-Charlottenburg / Brillant Mitte GmbH / Dr. Sissy Brucker / Jürgen Daenens / Wolfgang Erichson, Bürgermeister Heidelberg / Serafin Fernández Rodriguez / GENFILMS Production Ltd. / Michael Harckensee / Härting Rechtsanwälte / Holzfachzentrum Potsdam / Drs. Jessen & Kollegen / Michael Kasten / Klaus Koch / Raimond Krúze / Evgeny Kulyushin / Adrian Lehmann / Bork Melms / Ralph Morgenstern / OUT tv Media / Fred Peemöller / Dr. Christian Peters / 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 / Iris Maria vom Hof / Olaf Völzke

Special thanks go to Cine Plus Media Service GmbH & Co. KG / Internationale Filmfestspiele Berlin/KBB / medienboard Berlin-Brandenburg / Harald Christ / Buchladen Eisenherz / elledordado e.V. / Regenbogenfonds e.V. / Kino International - Yorck Kino GmbH / Medservice Stockmann / SanServ GmbH / MB-Finanzberatung Gaby Büttner / Oktoberdruck / Kulturplakatierung / Myers Hotel / Schwermetall Schmuckdesign / partyworks / Südblock / 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 Rathausstraße 1, 10778 Berlin Filmtheater am Friedrichshain, Bötzowstraße 1-5, 10407 Berlin Friedrichstadtpalast, Friedrichstraße 107, 10117 Berlin HAU Hebbel am Ufer, Stresemannstraße 29, 10963 Berlin

Haus der Berliner Festspiele, Schaperstraße 24, 10719 Berlin Haus der Kulturen der Welt, John-Foster-Dulles-Allee 10, 10557 Berlin IL Kino, Nansenstraße 22, 12047 Berlin Kino International, Karl-Marx-Allee 33, 10787 Berlin Kino Toni & Tonino, Antonplatz 1, 13086 Berlin Union Filmtheater, Bölschestraße 69, 12587 Berlin STATION-Berlin, Luckenwalder Straße 4-6, 10963 Berlin Südblock, Admiralstraße 1-2, 10999 Berlin Zeughauskino, Unter den Linden 2, 10117 Berlin Zoopalast Berlin, Hardenbergstraße 29a, 10787 Berlin

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, 2016. Für die veröffentlichten Termine können wir keine Garantie übernehmen. Alle Termine und Informationen entsprechen dem Stand vom 22. Januar 2016.

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..