TEDDY AWARD Program Guide 2009 by TEDDY AWARD, Queer Film Award of Berlin International Film Festival

23. TEDDY AWARD DER QUEERE FILMPREIS DER BERLINALE

PROGRAMME GUIDE

All queer films at the 59th Berlin International Film Festival 05.-15.02.2009

- eine Palast-Phantasie

The TEDDY, the Berlinale's Queer Film Award

TEDDY, der Queere Filmpreis der Berlinale

The TEDDY AWARD is the queer film award best known to the public; its unique

Der TEDDY AWARD ist der queere Filmpreis für die Öffentlichkeit, seine einma-

history has become a Berlinale legend. This extraordinary award would never

lige Geschichte ist Berlinale-Legende. Ohne Manfred Salzgeber, der damals Lei-

have existed without Manfred Salzgeber, the former director of the Panorama

ter der Panorama-Sektion der Berliner Filmfestspiele war, und seinen Assistenten

section of the Berlin International Film Festival, and his assistant Wieland

Wieland Speck, der seit 1992 dessen Erbe als Panorama-Chef weiterführt, hätte

Speck, who has continued his legacy as the head of Panorama since 1992. It is

es diesen einzigartigen Filmpreis nie gegeben. Ein Preis, der oftmals seinen

a prize that has often been awarded to young filmmakers, providing them with

noch sehr jungen Preisträgern erst die notwendige Anerkennung in der Filmwelt

the necessary recognition in the film industry. Over the past 23 years a long list

verschafft hat. In den 23 Jahren sind viele Preisträger zusammengekommen,

of names has accumulated, which by now reads like a veritable “Who's Who” of

ihre Namen lesen sich mittlerweile wie ein Who is Who der Filmwelt: Pedro

the film world: Pedro Almodóvar, Gus Van Sant, Derek Jarman, François Ozon,

Almodóvar, Gus Van Sant, Derek Jarman, François Ozon, Stanley Kwan, Todd

Stanley Kwan, Todd Haynes, Heiner Carow, Helmut Berger, Richard O'Brian

Haynes, Heiner Carow, aber auch Helmut Berger und Richard O'Brian und die

and the academy award winners Peggy Rajski, Rob Epstein, Jeffrey Friedman,

späteren Oscar-Preisträger Peggy Rajski, Rob Epstein, Jeffrey Friedman und

this year's jury president Tilda Swinton.

Tilda Swinton, die diesjährige Jury-Präsidentin.

The LGBT film award was granted for the first time in 1987. Back then they

1987 wurde der schwul-lesbische Filmpreis zum ersten Mal vergeben. Damals

really had to improvise. Today the TEDDY is an internationally recognised film

musste noch heftig improvisiert werden. Inzwischen ist der TEDDY ein inter-

award of major importance, not only for the LGBT filmmakers who annually

national anerkannter Filmpreis, der auf dem Parkett dieser Welt nicht nur für

attend the Berlinale, but also on a global level for many people whose daily

die schwulen, lesbischen und transidentischen Filmemacher, die alljährlich zur

life are still affected by oppression. Films that address their situation play an

Berlinale kommen, eine große Bedeutung hat, sondern auch für viele Menschen,

indispensible role: not only do they inspire courage to fight for change, they

deren Alltag bis heute von Unterdrückung geprägt ist. Filme, die ihre Situation

even act as an antidote to the cultural amnesia that has spread concerning

thematisieren, haben eine unverzichtbare Funktion: Sie machen nicht nur Mut

the worldwide AIDS crisis. People like Manfred Salzgeber, who himself suc-

zur Veränderung, sie sind gar ein Gegenmittel für kulturelle Amnesien, wie jene,

cumbed to this fatal disease, paved the way for the TEDDY to co-operate with

die sich über die weltweite AIDS-Krise ausgebreitet hat.

UNAIDS, the Joint United Nations Programme on HIV/AIDS, as an institutional

Menschen wie Manfred Salzgeber, der selbst dieser todbringenden Krankheit

partner in drawing attention to the 33 million people worldwide living with HIV/AIDS, 2 million of whom are children. We are still in a silent state of war that cannot be ignored.

erlag, haben den Weg dafür geebnet, dass der TEDDY in diesem Jahr – erstmals zusammen mit UNAIDS, dem Gemeinsamen Programm der Vereinten Nationen zu HIV/AIDS, als institutionellem Partner – darauf aufmerksam macht, dass

The TEDDY was never just a film prize; it was always also a political award.

weltweit etwa 33 Millionen Menschen mit HIV/AIDS leben müssen, davon sind

The aim was to increase visibility for LGBT lifestyles and the emancipation of

allein 2 Millionen Kinder. Nach wie vor befinden wir uns in einem unsichtbaren

this minority, which has in fact been similarly silenced throughout all cultures,

Kriegszustand, den man nicht ignorieren kann.

encouraging their voices to be heard again. One can rightly assert that the

Der TEDDY war nie nur ein Filmpreis, er war immer auch ein politischer Preis.

TEDDY has justly fulfilled this aspiration. The award has contributed to a societal liberalisation process and continues to do so. The fact that the Berlinale acknowledged the TEDDY as an official festival award in 1992 is an expression of this evolution, as is the fact that the German-French cultural television station ARTE is broadcasting the ceremony this year for the fourth time in a row. The Berlinale is proud of this award and extends congratulations on the occasion of the 30th anniversary of this section out of which the TEDDY developed: Panorama is celebrating 30 years of programming – that's truly independent film!

Schwules und lesbisches Leben sollte mit ihm sichtbarer und die Emanzipation dieser Minderheit, die sich tatsächlich in jeder Kultur ähnlich totgeschwiegen oder bekämpft wiederfindet, beflügelt werden. Man kann mit Recht behaupten, dass der TEDDY diesem Anspruch gerecht geworden ist. Der Preis hat zu einer gesellschaftlichen Liberalisierung beigetragen und tut es noch. Dass die Berlinale den TEDDY AWARD 1992 als offiziellen Preis des Festivals anerkannte, ist ein Ausdruck dieser Entwicklung. Wie auch der Fakt, dass der deutsch-französische Kultursender ARTE die Preisverleihung bereits zum vierten Mal in Folge übertragen wird. Die Berlinale ist stolz auf diesen Preis und würdigt an dieser Stelle auch den runden Geburtstag der Sektion, aus der der TEDDY sich entwickelt hat: Das Panorama feiert in diesem Jahr „30 Jahre Programm“. Das ist Programm!

Dieter Kosslick

Ihr Dieter Kosslick

Festival Director

Festivaldirektor

23. TEDDY AWARD / www.teddyaward.tv 3

ContentS / Inhalt

A Letter to a Boy from His Mother... A Declaration of Love to Cinema By Tilda Swinton Queer Cinema – Two Personal Statements

No More Mr. Nice Gay By Todd Verow

Tarnation Never Ends By Jonathan Caouette

20 22

26 38 49 44

TEDDY Jury 2009 Introduction of the TEDDY Jury 2009 Can A Boy Be too Attractive? An essay on 2009 Special TEDDY AWARD winner Joe Dallesandro By Michael Ferguson Film Introduction and Film Programme All Queer Films at The 59th Berlin International Film Festival Feature Film Programme Schedule Documentary Film Short Film

The Light at the End of the Tunnel / Vom Tunnel ins Licht An interview with Wieland Speck, the Director of Panorama By Diana Näcke

Last Year's Winners One Year after Receiving the TEDDY AWARD By Felipe Scholl, Ayat Najafi, David Assmann, Olaf de Fleur and Tanaz Eshaghian

In the Beginning ... There was Quentin Crisp An essay on Quentin Crisp By Phillip Ward

From Bathrooms to Broadway... An interview with drag artist Joey Arias By Diana Näcke

Men Who Have Sex with Men UNAIDS contribution to the 23rd TEDDY AWARD By UNAIDS

Credits, Venues, and Acknowledgements

4 contents

Introduction

Grußwort

By Klaus Wowereit

Von Klaus Wowereit

Governing Mayor of Berlin

Regierender Bürgermeister von Berlin

LGBT culture and lifestyles in Berlin are deeply

Schwul-lesbische Kultur und Lebensweise sind

rooted. No other German city has such a diverse

in Berlin fest verwurzelt. Keine andere deutsche

queer scene, nowhere else in Germany are there

Stadt hat eine so vielfältige schwul-lesbische

as many venues, clubs, bookstores, organisa-

Szene, nirgendwo sonst in Deutschland gibt es so

tions, and support centres for lesbians, gays, bi-

viele Begegnungs- und Beratungszentren, Clubs

sexuals and transgendered people. And so it may

und Buchläden, Organisationen und Anlaufstellen

come as no surprise that the TEDDY AWARD –

von und für Lesben, Schwule, Bisexuelle und

not only the oldest, but also one of the world’s

Transgender. Und so mag es auch nicht überra-

most renowned queer film awards – is bestowed

schen, dass in der Hauptstadt mit dem TEDDY

here in the capital.

AWARD nicht nur der älteste, sondern auch einer

We are proud to continue this tradition. The TEDDY AWARD has long been a highly-regarded,

der weltweit bedeutendsten queeren Filmpreise verliehen wird.

integral part of the Berlin International Film

So auch in diesem Jahr. Längst hat sich der

Festival, thereby also further underscoring its

TEDDY AWARD zu einem angesehenen Bestand-

reputation as a cosmopolitan, multi-faceted, and

teil der Internationalen Filmfestspiele Berlin

political festival presenting down-to-earth film

entwickelt, die damit zugleich ihren Ruf als welt-

fare.

offenes, breit gefächertes und in vielen Beiträgen

After all, the TEDDY is still the sole achievement award for film productions with gay, lesbian, bisexual or trans-identified content that is conferred in the context of a major international, and not at an explicitly homosexual, film festival. With this in mind, I welcome you all to the now 23rd. TEDDY AWARD Ceremony and wish you both a thrilling and entertaining gala event. I warmly congratulate all the award winners. Here I would especially like to extend my congratulations to the fabulous Joe Dallesandro, for the honour of receiving this year's eminent Special TEDDY AWARD. I would also like to express my gratitude to the TEDDY Jury and to all, who have supported and stood by the TEDDY in past years for their committment and dedication, which contributed tremendously to reaching a broader audience and expanding interest in gay and lesbian cinema.

Landesarchiv Landesarchiv Berlin Berlin

INTRODUCTION / Grusswort

realitätsnahes und politisches Festival weiter unterstreichen konnten. Schließlich ist der TEDDY nach wie vor die einzige Auszeichnung für Filmproduktionen mit einem schwulen, lesbischen oder transidentischen Inhalt, die im Rahmen eines großen, internationalen und nicht explizit homosexuellen Filmfestivals vergeben wird. In diesem Sinne heiße ich Sie alle zur nunmehr bereits 23. TEDDY AWARD Ceremony willkommen und wünsche Ihnen eine gleichermaßen spannende wie unterhaltsame Gala-Veranstaltung. Den Preisträgerinnen und Preisträgern – und hier insbesondere dem großartigen Joe Dallesandro, der den diesjährigen Special TEDDY AWARD erhalten wird – gratuliere ich bereits jetzt sehr herzlich zur Ehrung mit diesem wichtigen Preis. Zugleich danke ich der TEDDY-Jury sowie allen, die den TEDDY in den vergangenen Jahren unterstützt und begleitet haben für ihr wichtiges Engagement, das viel dazu beigetragen hat, ein größeres Publikum für schwul-lesbische Filme zu interessieren.

23. TEDDY AWARD / www.teddyaward.tv 5

Brigitte Dummer

a letter

to a boy

from his mother 6 Letter to a boy

Boy, my darling, you asked me the other day, just as you were dropping off, what people’s dreams were like before the cinema was invented. You who talk blab berish and chase rabbits in your sleep, hurrumphing like a dog… you who never watch television… I’ve been thinking of your question ever since. By Tilda Swinton

I just think of how my mind went whirring after

My friend, the great Italian cultural critic Enrico

you had fallen asleep and I lay there wondering…

Ghezzi, has written about this very thing, Dadda

and all I know is – it was a good feeling. I just

remembered: the invitation to reverie that a

know that I want my mind to whirr like that.

visionary cinema can provide, the invitation to

That it hasn’t whirred like that for a while, that

become unconscious. No joke. Personally, having

its precisely this whirr factor that I value the

been exposed recently to the slew of trailers

cinema for providing. Even a QUESTION about

before Spike Lee’s new film, or even those before

cinema can do it to me… Yes, and like all your

ICE AGE 2, I would have been grateful for a cosh

questions, particularly the kind that come at

on the back of the head for any – temporary –

the very dog end of a long day… there is no

escape from the escapism of those previews of

answer that I feel capable of offering: “What

forthcoming attractions… I think the last film in

was the last thing to be made?” “Can you jump

which I experienced this kind of ecstatic removal

on the clouds when you are dead?” “What do

was at a screening in Cannes of the Thai film

worms taste like?” “…What does a wet lamb

Tropical Malady: Sud Pralad. In my opinion,

feel like?” … (although we’ve discussed – and

it’s a masterpiece, mysterious and shapeshift-

researched – these last two in detail)

ingly magical, a love story that actually carries the power to tip one into love, a nightmare of

There are so many things that I suppose I could

nature that kicks a primal punch… that takes us

talk about. I could talk about the making of

into the wilderness of human nature and leaves

films: what I have learned in the trenches of

us there. I actually remember rubbing my eyes

independent filmmaking over 2 decades. Or what

with my fists in a comedy gesture during the

I have learned about the differences between

screening, convinced, for one split second, that

independent filmmaking and the studio system

I had fallen asleep, that only my unconscious

I have more recently become acquainted with.

could have come up with such a texture of

I could talk about performance. I could talk

sensation.

about innovations and new technologies. I could

Can I be alone in my longing for inarticulacy –

talk about struggle and things that fall apart…

for a cinema that refuses to join all the dots?

I could talk – at length – about money. But

For an arhythm in gesture, for a dissonance in

your question – and its hypnotic effect on me –

shape? For the context of a cinematic frame, a

inspires me to talk about none of these things.

frame that – in the end – only cinema can pro-

But to meditate on something I think is far more

vide. For the full view, the long shot, the space

important than all of this – and much more diffi-

between… the gaps… the pause… the lull… the

cult to address. You make me want to talk about

grace of living…

what cinema is and why we need it: and what it is that is incorruptible – uncooptable – within its

The figurative cinema’s awkward and rather un-

realm; about the state of mind – the projection

savoury relationship with its fruity old aunt, the

of vision – the social project that cinema is – and

theatre, to her vanities, her nous, her beautifully

why its worth the fight in the first place. And why

constructed and perennially eloquent speechify-

no revolution, digital or otherwise, could cheat

ing, her cast iron – corset-like – structures, her

your generation out of its existence. And why I

melodramatic texture and her histrionic rhythms.

am hopeful to my boots that its never, ever going

How tiresome it is, it always has been. How

away. Your sleepytime question about cinema –

studied. The idea of absolute articulacy, perfect

about dreams – sends me in a way I want to be

timing, a vapid elegance of gesture, an unblink-

sent. I’m so proud of you for asking it. Proud that

ing, unthinking face. What a blessed waste

you would wonder such a thing. Proud to know

of a good clear screen, a dark room and the

that you instinctively relate film to dream, as few

possibility of an unwatched profile, a tree, a hill,

of us making cinema today are encouraged to

a donkey… How I long for documentary, in resist-

do… You are 8 and a half. What an age for a boy

ance – for unpowdered faces and unmeasured

to ask about cinema and dream! It occurs to me

tread – for the emotionally undemonstrative family

that that same evening, Dadda was telling me

scene – for a struggle for unreachable words, for

that his falling asleep in the cinema is a particu-

the open or even unhappy ending? The occa-

lar honour to the film in question. He was telling

sionally dropped shoe off the heel, the jiggle to

me this as a compliment, his having snored

readjust; the occasionally cracked egg; the mess

through three of the four films released last year

of milk spilt. The concept of a loss for words. For

in which I appeared.

a State of Cinema – as the state of grace that it affords us – in which nothing much happens but all things are possible, even inarticulacy, even

23. TEDDY AWARD / www.teddyaward.tv 7

failure, even mess…

imagined.

I’ve been making films for twenty years now and

Besides – I always was a believer in the essential

I still don’t know what to do with my face when

message of that particular Christmas block-

people ask me at what point I decided to be-

buster: In my universe, beavers CAN talk.

come an actress – or even an actor – or how not to feel offended when I’m asked about getting

The rampant old church that cinema is. You never

into, or out, of character, something I, frankly,

can tell whose gonna jump up into the pulpit…

know nothing about. I used to think until quite

The thing is, for me – and here the advising

recently, that this awkwardness was because I

studios and the investigative journalists barked

was embarrassed about being caught not taking

up the wrong tree with this pre-industrial ama-

something seriously. But now I think I detect a

teur – filmmaking, too, has always been an act of

tang of irritation, of offence, at the implication

faith. Not only in the sense in which one needs

that I might be present but not correct, that I

a certain amount of conviction to get the films

might be there, on a screen, without faith. The

made in the first place, but in the more amor-

idea that I would be there to ENACT something

phous sense in which one takes one’s faith to the

for some nefarious, even vanity based, reason to

cinema as to the confessional: the last resort of

do with drawing attention to myself. Too serious

the determined inarticulate, the unmediated, the

to be a dilettante and too much of a dabbler to

intravenous experience of something existential –

be a professional.

transmuted through the dark, through the flickering of the constant image through the projector

Last year, in the course of my recently developed

onto the screen… the sharing of private fantasy;

pastime as studio spy, in the process of promot-

the very issue of the unconscious made in light.

ing two fantasy films for different Hollywood

Faith way beyond politics. Way beyond religion.

studios, I was advised on the proper protocol for

Way beyond time.

talking about religion in America today. In brief, the directive was – Hold yr hands high where

It was in Tarkovsky’s Stalker that I saw an

all can see ‘em, step away from the vehicle and

image from a dream that has visited me all my

enunciate clearly, “nothing to declare”.

life, made real. Does a thing have to be shared to be made real? A bird, flying towards the camera,

At a press conference in London for Disney’s

dips its wing into the sand that fills a room. Did

film, I was asked, to chilling frisson in response,

I imagine this? I haven’t seen the film for years.

if I were still a member of the Communist Party.

Can somebody tell me? Was I dreaming even

A friendly Spanish journalist reassured me later,

then, in the Cambridge Art Cinema in 1981? Or

sotto voce and with apology for her – Ameri-

might there be the possibility of a shared dream,

can – colleague, that in Spain things are more

a shared unconscious after all? This was before I

clearly understood. The past is a foreign country.

had ever made a film, ever met a filmmaker, ever

They do things differently there. The fact is, as I

half-willingly stood in front of a camera. Among

clarified that day, I never stopped being a com-

the first films I made with Derek Jarman, our

munist. The fact IS that the Communist Party of

segment of Aria, The Last of England, and

Great Britain no longer exists as such; that the

The Garden were made in this confessional

party was morphed into the Democratic Left over

spirit. The triple-decker faith that made us want

ten years ago; that my membership of the party

to make these films was paramount. These films

was an act of faith born out of an alliance with

were beyond personal: shot as home movies on

ideals of fairness and a commitment to a welfare

Super 8 and then blown up to 35mm, collated

state that it was clear to me then was in the

over the course of a year, filmed as documents

process of being deserted by the Parliamentary

of our life as a group and then put together in

Left. But I love the idea of goose-stepping old

the way an anthology of poetry might be edited,

Walt D, making over $700 million dollars with

with gaps filled later by purposefully designed

the help of a Red Witch… He is more than wel-

sequences. The private rendered public purely by

come. At least we made her whiter than white,

virtue of exhibition. No articulation attempted,

the ultimate white supremacist, and we managed

no narrative imposed. I remember distinctly a

to railroad the knee-jerk attempt to make her

young man – after a screening of The Last

look like an Arab… And maybe – just maybe,

of England at the New York Film Festival in

on top of all that – Disney might have ended up

1989? 1990? – telling me in great detail the

underwriting the most expensive advertisement

narrative of the film he had just seen. With ser-

teaser for Derek Jarman’s and Lynn Hershman’s

pentine logic – and exquisitely moving, somehow.

back catalogue that any of us could ever have

His projection, and the impact it clearly had on

8 Letter to a boy

Your generation, my child, so I see from those terrifying trailers for upcoming Easter treats, is given to understand that the wilderness is over; that wild animals... are a thing of the past.

TILDA SWINTON

letter to a boy

Xavier Byrne, Tilda Swinton's Son

him, seemed to me to be the highest possible compliment he could have

Fahrenheit 911 – in order to say the things he wanted to say to an

paid to the film. I remember him asking me if he was right. I remember

intergalactic audience in a way that, already at that time, he could no longer

wincing, because it felt like the wrong question, and telling him that of

say those things on television, on the radio or in many publishable organs

course he was right. Whatever he saw there was real, was his to define.

back home. Regardless even of its content, this film, in my opinion, dignified – honoured – the cinema, by choosing the refuge of its wider screen,

The first article of faith we were in the process of professing in the cultural

its quieter dark. For Better or Worse. THERE’S a battle cry to nail up on any

cinema of the late 80s and 90s in England was partly a political faith in the

filmmaker’s wall: Not for profit, (notice). Not for box office. And, eventually

very idea of resistance: very often resistance of a quite literal and pragmatic

in the analysis, not even particularly for now. For the hell and the heaven of

kind. It is easy to see, especially in Jarman’s Edward II adaptation – where

it. For the State of Cinema. That promised land of freedom as you, my boy,

the gay, activist collective, Outrage, is prominently featured in the climax of

might imagine it to be; a playground equipped with all the climbing frames

the film’s narrative – how site-specific this work was at the time, lobbying,

and spinning things and chutes and swings you could ever need. Like a

as it did, against restrictive civil liberty policies proposed by Thatcher’s

trapdoor hidden by a carpet, the route to the 90s is obscured. The fact is

Conservative Government. It felt powerful that the work had an interna-

that those times changed fast. There’s a story there that I’ll tell you another

tional profile at a time when this was being seen by those without the long

time – a different set of wars that some, but not all, of us survived.

view, as a purely localised, national problem. In a Second article of faith, beyond practical politics, these films were connected intrinsically with the

For my generation on, even the aliens, it is hard to grasp that it is in fact

lives of the artists who made them – they figure a dedication to a reality

a scrupulously constructed fantasy that we have, each and every one of us

seldom seen in the cinema. For young, gay people all over the world in the

on this planet – European, Asian, Sikh, Finn, Masai, Maori, male, female,

years in which they were released, the value of their solidarity in sensibil-

neither, both – asked, at least once in our lives, a girl to the school prom,

ity, in company, is simply incalculable. To be an emerging, gay teenager in

standing in the American high school corridor flanked by metal locker doors.

a small town in the early 1980s, stumbling upon Jarman’s Sebastiane

That we have each and every one of us negotiated cheerleaders and their

was, for so many, nothing short of a miracle. As cultural cinema, made by

jock boyfriends; skirted a baseball diamond with a school jersey round our

artists outside the industrial paradigm, these films widened the spectrum

waist; that we have endured Thanksgiving dinners, year in, year out; shut a

of a European and world cinema, and, I would argue, society – in a unique

front door with our arse while carrying a big square paper bag full of Oreos

way. This year, those oh so brow-furrowing bareback cowboys went to the

and milk cartons, shouting “Honey! I’m home!” This is a sort of reality for

Oscars. Straight eye for the queer guy. And even Grey Gardens – star of

us all, wherever the tentacles of intergalactic, Marshall plan-like, distribu-

the Maysles’ documentary masterpiece – stands by to smash in a musical

tion reach. The same kind of reality that governs the idea that Hershey’s

on Broadway, restored, so I am told, in the first act, to it’s pre-cat-shit, all-

chocolate tastes of chocolate and not black wax.

Bouvierbusting glory, with the Kennedy’s coming for tea. O wow. How times do change. Does that mean the faith charm worked?

If I pray for anything, within my faith, if I’m posting any wish to my personal Cinema Santa this year, it is for more and more wise and courageous

This year I have already spoken to students from Pittsburgh to Edinburgh

distributors, with more and more big and small and beautiful cinemas.

who have never heard of Derek Jarman. But over everything, the Third, and

Distributors with the kamikaze vision that spreads the broad and long view;

possibly most liberating, faith that we were professing in those days was a be-

that finds a way of casting wide chicken feed, the wildflower seed, of dif-

lief in the cinema screen as the Church for the Aliens. The safe space where

ference, of particularity, of dissonance, of a belief in the innovative power

we could all hang out. The Grace Cathedral of Cultural Acceptance and the

of human expression beyond the confines of the conventions of narrative.

possibility of an audience with eyes and ears. And time. And attention. Those

Programmers who, as Bertolt Brecht would say, “Made Suggestions”. Your

were the days when Independent Cinema rarely got capital letters: before,

generation, my child, so I see from those terrifying trailers for upcoming

under cover of darkness, it became morphed into the generally codepend-

Easter treats, is given to understand that the wilderness is over; that wild

ent cinema now at the heart of Hollywood’s streamlined mainstream, and

animals – be they extinct species from the ice age, or almost domestic pet-

certainly before it constituted any kind of industrial profile, and – in the

like critters dependent on processed food foraged from trash cans for their

days before anyone ever dreamt of a cultural cinema as being something

survival – are a thing of the past. Anthropomorphised beyond all dignity, all

that might make them any money.

point in their existence. And that this – their, ours, yours – is an unavoidably, peacelessly, violent world; hot for looming great close-ups and cartoon

I remember feeling distinctly nostalgic for those days a couple of years

double-takes; low on blood and high on impact… like the wars now waged

ago when I had the good fortune to serve the jury of the 2004 Cannes

in our/your name… like the story of these times as told by our storytellers.

film festival – the year that Michael Moore made a film for the cinema,

Timothy Treadwell, the subject of Werner Herzog’s ingenious documentary

23. TEDDY AWARD / www.teddyaward.tv 9

I think about Charlie Kaufman’s Charlie Kaufman in Adaptation suggest-

Tilda Swinton is one of her generation’s most sought-after performers.

ing to the spot-lit, posturing Robert Mckee – script doctor and industry narrative guru – that he is a writer attempting to create a story where

Tilda Swinton in CARAVAGGIO (Derek Jarman, 1986)

nothing much happens: “Where people don’t change… they don’t have any epiphanies… they struggle and are frustrated and nothing is resolved – more

MICHAEL CLAYTON (Tony Gilroy, 2007)

a reflection of the real world.‘The real world?’ echoes Mckee, ’The real fucking EDITION SALZGEBER

BURN AFTER READING (Ethan and Joel Coen, 2008)

world. First of all, you write a screenplay without conflict or crisis, you’ll bore your audience to tears… secondly…’ ‘Nothing happens in the world? ‘ ‘Are you out of your fucking mind? People are murdered every day, there’s genocide, war, corruption. Every fucking day, somewhere in the world somebody sac rifices his life to save somebody else. Every fucking day somebody somewhere takes a conscious decision to destroy someone else. People find love, people lose it…’ If you can’t find that stuff in life, then, you, my friend, you don’t know crap about life. And why the fuck are you wasting my two precious hours with your movie? I don’t have any use for it!” The whole question of reality is so clearly one out of control, at this point in history, that I suggest we are into a meltdown of quite a fresh kind – mammoths, sloths, human consciousness and all. A crisis in storytelling. An existential crisis unimagined by Sartre. A world where the very idea of fact

Constantin Film Verleih GmbH

strains, somehow, to be hedged by inverted commas. Your fact. My fact. Subjective alienation complete. Capitalist mission accomplished. There is no such thing as society, no common ground… When the question of media fabrication and distortion is no longer a matter for breaking news, when trustworthy political leaders seem to occupy only the most fanciful, fairytale landscape in the imagination, when the idea of believing one’s own eyes is a question constantly in doubt – what path for fiction, then? What horizon can narrative and figurative storytelling look to? The loss of confidence in the paradigm of reality versus fiction, and the addiction of “factual” news reportage to the high drama of sensation, cannot leave a society’s relationship to its myth-making and acting-out processes unaffected: Perhaps most significant of all, the systematic amping up of the high drama of daily life as disseminated via the “reality” of news programTobis Film

ming must only key up a population to expect and need the adrenaline rush of sensational, result-heavy, political action from its leaders – its new bedtime storytellers. When we are used to seeing results of every story arc within 30 minutes, including advertisements, no wonder we get used to expecting a resolution within 90 minutes, including popcorn, or a matter of portrait, Grizzly Man – blazes the trail for the fantasists. By insisting

months, including collateral damage. The rush for the third act denouement

that these ferocious-looking, grizzly bears will in fact be harmless to him,

became, somehow, back there, a political strategy…

by expressing so adamantly his longing to be inside a bear suit, he gets his wish and ends up with his head off and inside a bear mean enough not to

A film like Crash – winner of Best Film Oscar this year – pleases, if it does,

care that Treadwell loved him. It is posited in the film that Treadwell is only

reassures because of its resemblance to a familiar version of reality – TV real-

tolerated by the bears because they in some sense consider him mentally

ity. Shot relentlessly in close-up, its encounters persistently hysterical, high –

defective as a human, posing no threat to them on the grounds that he

albeit melodrama and nothing but – it delivers the punch of any primetime

doesn’t really count as human. Thereby hangs a tail, out of, and occasionally

cop show/crime biography/close circuit documentary law and order expose. Its

into, the mouths of bears.

vernacular use of a “real” look at racial tension is fabulous oil for a souped-up old engine – so familiar as to be palatable, but twisted just enough to feel

But yes! There IS a wilderness that prevails! A wild blue yonder. That wild

fresh. We live in the inverted commas “reality” age – ever awake, too tired

and woolly, mysterious and uncuddly possibility – unairconditioned, unelec-

and chewed to dream, square-eyed, and addicted to the reality of tv… from

trified, uncivilised. Hooray for anything outside of a civilisation defined, as

getting to know realllll people to getting to cook reallll food to getting to dress

this one is, by the unnatural tyranny of doubtlessness. Hooray for myriad

realllll bodies… all playing at life. There is a lot of real sex about on screens

languages, (even between humans), belief systems, sign languages between

large and small… those writhing fleshly limbs that distract us from those

aliens – for the need for language at all, to explain and transmit our dif-

charred and decapitated carcasses we are now so blasé about witnessing in

ferences. Or to attempt to… to materialise our inarticulacy, to accept the

our own, aptly named, living rooms. We are required to wear our hearts in our

possibility of failure and to make the attempt afresh, every day.

mouths. On our sleeves. In our boots. High alert narratives day in day out.

10 Letter to a boy

letter to a boy

The state of cinema IS a dream state. No known address. Occupied, dictated, created by no-one.

There IS a place to make for, the original online

summer cinema out of straw bales. I salute you.

world that doesn’t give up on nature, an unmea

I’m down on my knees sweeping the temple with

surable border to cross that can hold us and our

my hair and lighting the candles.

dreamscape secure and inviolable, peaceable

Here’s your idol, Mr. David Bowie, writing about

and lawless, where we can meet and be faithful

an earlier time, some 35 years ago a time when

beyond the petty, worldly confines of all corrupt-

your mother was about your age:

ible networks and their nets… “There was the distinct feeling that ‘nothing was The State of Cinema – that place where you met

true’ anymore and that the future was not as

Jacques Tati for the first time:

clearcut as it had seemed. Nor, for that matter, was

Jean Cocteau

the past. Therefore, everything was up for grabs.

Michael Powell

If we needed any truths, we could construct them

Buster Keaton

ourselves. The main platform would be, other than

Bresson’s donkey Balthazar

our shoes, ‘We are the future now’. ”

The Méliès moon and Chris Marker

Some things never change.

and Luis Bunuel

Never stop asking. Never stop moon-age day-

and some people you are yet to know, just

dreaming. Dream us the future, baby. Awaken

around the corner

our memories. Vote for Pedro.

someone called Terrence Malick and someone called Wong Kar Wai

Dream on.

and someone from Hungary called Bela Tarr

Your ever loving,

and someone from Italy called Federico Fellini

Mumma

The state of cinema IS a dream state. No known

and someone from Switzerland called Jean Luc

address. Occupied, dictated, created by no one.

Godard

When it comes to moving goalposts, what art

and someone from Iran called Abbas Kiarostami

form could be described as more flexible than

and someone from America called David Lynch

film? As ever, its all up for grabs. And evolution –

where the Pixar people live

as ever – is the name of the game. Smoke and

where you saw China first –

mirrors. Necessity. Mother. Invention. One more

and Japan before you went there, hand in hand

revolution and the wheel goes round.

with Miyazaki,

First published in Critical Quarterly, vol.48, no.4.

and Africa Film is the art form through which time becomes

and Sweden.

material. Now more than ever, perhaps, we need

and the universe under the sea

its possibilities and the sincerity of its witness.

Like all great states, it is a state of mind,

In this period when we are attacking and disman-

borderless and with no policy of exclusion or

tling time itself through our fascination with the

deportation. It does not pretend to be united.

virtual and with the simultaneous – we now long

It doesn’t even claim to be civilised. It does not

for new, renewed, experiences of the temporal,

sell its policy of freedom with the small print of

an existential sensation of duration. Why?

enforcement, is not evangelical, hierarchical, meritocratic…

Perhaps it is to do with memory and the sense

No known address. No visa required.

that we are increasingly being pulled into a vast,

Tilda Swinton

(born in 1960)

is an Oscar, BAFTA, Coppa Volpi and TEDDY AWARD winning actress, currently resides in Nairn, Scotland. She worked with directors Derek Jarman, Sally Potter, Tim Roth, Spike Jonze, Danny Boyle, Andrew Adamson, Jim Jarmusch, Tony Gilroy, Erick Zonca, Ethan and Joel Coen, David Fincher. This year she is the head of the 2009 International Jury of the Berlinale.

orchestrated project of amnesia. We discovered

So thank you for your question, boy. Like all good

cinema in the same moment in history when we

questions, it inspires a wash of more questions.

re-discovered – through Freud – the signifi-

If I don’t think of anything else to talk to the

cance of our dreams. Now we are displacing

people in America about, I’ll ask them one of my

Online

and distorting, (with our passion for genetics,

own. If we cannot see what people’s dreams are

Interview with Tilda Swinton on www.teddyaward.tv

neuroscience, cognitive), the ineffable element

like before the invention of cinema, what can we

of the dream within the machine. Our dreams are

know about our dreams now – long after cinema

the place where we can remember that which we

has become a state in her own right, a place in

never realised we knew. And the prism through

which so many of us live, selling, buying, steal-

which we can reflect these visions – the trick of

ing, guarding – some of us, living, breathing?

the light, that alchemy of smoke of mirrors so much more than the sum of its parts – is what

Xavier Byrne. You 8 and a half year old pilot/

the cinema is. This is what you might call the

mechanic/rock star pagan, hair to your waist and

Good News…

the future in your eye, already planning your own

23. TEDDY AWARD / www.teddyaward.tv 11

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Nominated in the following categories:

Queer Cinema Two personal statements By Todd Verow

Sorry, I didn’t mean to kill New Queer Cinema. I was young, innocent (well – at the least, more innocent than I am today) when I made my first feature FRISK (Berlinale 1996). I hated the book and I suppose, in hindsight – that’s why I jumped at the chance to make the film version. I have a natural instinct to destroy in the name of creativity. Besides, we had a blast shooting a big “fuck you” to the growing political correctness of the 90's, and to the mainstreaming of gay culture which started then. A riot broke out at our screening during the San Francisco Lesbian & Gay Film Festival, the editor of The Advocate magazine said I should be shot, the writer of the book denounced the film and the New York Times declared the film the “ne plus ultra of queercore.” I had arrived in style.

Todd Verow, Bangor Films

No More Mr. Nice Gay

Brad Hallowell in DELETED SCENES

23. TEDDY AWARD / www.teddyaward.tv 13

To me, experimental or underground film and queer film were synonymous.

After making my first feature I got a lot of positive and negative attention.

When I started making short experimental films and videos, I was inspired

Even then I was a work-a-holic and had plenty of ideas and scripts ready

by Kenneth Anger, Jack Smith, Andy Warhol, and the Kuchar Brothers

to go. I had lots of “meetings”, lots of “interest” but I am not a used-car

(whom I have had the honour of getting to know, having recently acted in

salesman; I lack that gene so nothing went anywhere. My creative partner,

one of Mike Kuchar’s movies VORTEX with one of my frequent actors/co-

James Derek Dwyer and I were living in San Francisco, we had very little

conspirators Philly.) None of these film makers gave two shits about making

money, and he was working a temp job while I was working at the Nob Hill

it in Hollywood. Their work was about their obsessions, it was personal

gay porn theater. (I would announce the live shows and make sure the per-

and more often than not, erotically charged. They were all, at one time or

former came on stage. There was a script that I was supposed to read. I re-

another, accused of being pornographic. As if that was a bad thing, as if Art

wrote it most of the time. Even at a strip club I was desperate to augment.)

and Pornography was mutually exclusive.

It was time to get the hell out of California, as far away fromm Hollywood as we could get. So we scraped together some cash, bought an extremely

Pornography is when the viewer masturbates; art is when the artist masturbates. “Why can’t we all jerk off together?” is what these filmmakers asked. I concur.

cheap Hi-8 video camera and moved to Boston. I got an actress friend of mine, Bonnie Dickenson, to come to Boston from Los Angeles and we shot the movie LITTLE SHOTS OF HAPPINESS (which world-premiered at the Berlinale 1997). Bonnie was my first “superstar”. James and I started our own production company, Bangor Films and we set out to make movies our way, shooting in video with no crew and a hand held camera, using only available light whenever possible and using whatever crappy sound I would capture with the camera microphone. We made the movies with no money, no outside funding. We set out to make 10 movies by the year 2000 and to everyone’s surprise (including my own) we managed to do it. None of these movies were “gay films” per se, they certainly had a gay sensibility but the subject matter was not gay. I didn’t really think about why that was

The beginning of New Queer Cinema was an exciting time. We were all angry

at the time, I certainly wasn’t trying to cross over into the mainstream but

little art terrorists coming out of ACT-UP and QUEER NATION and ready to

looking back now I think after making FRISK, I wasn’t ready or able to make

take over the world. We weren’t politicians – we were artists – so we worked

another gay film until it was something personal, something painfully real.

from our guts, our angst and our broken hearts. I was in art school (RISD) a

I was ready to do that when I was single again and moved back to NYC in

few years behind Todd Haynes (who studied at RISD’s sister school Brown

2001. I bared all (not just my ass but heart and soul) in ANONYMOUS (Ber-

University) so I knew of him and his work. Then I went to AFI in Hollywood

linale 2004). I decided that if I was going to take shit from people it would

to study cinematography and worked with Gregg Araki on TOTALLY F***ED

be for something personal. After that I delved into my own past, my own de-

UP. I remember being at the MOMA in NYC when THE LIVING END and

mons and make two semi-autobiographical films VACATIONLAND (Berlinale

SWOON premiered at the New Directors/New Films festival and thinking

2007) and BETWEEN SOMETHING & NOTHING. At the same time I made

wow this is something, something's happening and somehow I am in the

more experimental features like HOOKS TO THE LEFT (which was entirely I am often working on several projects at once, it's just how my brain works

the world and met all kinds of interesting filmmakers, there were festivals

and I find that my more experimental films inform my more narrative films

cropping up all over the place.

and vice versa. I am often accused of being “so prolific” (yes, I say

Timothy Swain and Brad Hallowell in BETWEEN SOMETHIN AND NOTHING 14 queer cinema

Todd Verow, Bangor Films

shot with a cell phone camera), BULLDOG IN THE WHITE HOUSE, and XX.

became friends and worked together many times. I went to festivals all over

Todd Verow, Bangor Films

midst of it. It was at MOMA that I first met the actor Craig Chester, we

Greg Lucas and Brad Hallowell in Vacationland

queer cinema

“accused” because usually that's the tone that the word is delivered in) as if

all other filmmaking rules. This is where DOGMA ’95 got it wrong; you

that is a bad thing. I can’t help it – I honestly have a need to make movies;

don’t throw out old rules and impose new ones, you must throw them all

to me there is nothing more tragic than a filmmaker who wastes his/her time

out. The obsession with “technical perfection” has got to stop! We are

waiting for permission (i.e. money) to make a film.

in danger of becoming mannerists (or just downright geeks.) Go back to nature, back to life. Life is gritty, dirty, full of shit and blood and semen.

Nowadays, filmmakers who spend years getting there movies made, making

It is sticky and messy, sometimes bitter sometimes sweet – sometimes all

compromise after compromise to get any distorted version of their original

at once. Shoot with whatever means you have available, don’t go chas-

vision on the screen are not artists they are businessmen. Artists stay true

ing the latest greatest resolution, the most expensive, state of the art

to their vision and make their work when they are inspired. They don’t think

camera, we are not technicians we are artists. Get your hands dirty. Make

about nonsense like marketability and “who is my audience?”. They don’t

ugly beautiful and vice versa. At least have the guts to do what you really

care about money and use whatever recourses they can get their hands on.

believe in – and have the guts to actually believe in something. The world

They don’t give a shit about critics or cultural theorists or gender politics.

has plenty of (film) critics and cynics. Cynicism is boring. Get passionate.

Fuck them all. More often than not, that's exactly what they need anyway.

Feel something. Then go tell your audience.

New Queer Cinema could never last long. It occurred at a time when people

This is an unprecedented, exciting time to be a filmmaker. Access to the

were starved for queer images on screen and so they were willing to “put

means of production and post-production has never been so attainable.

up with” more experimental, gritty, dangerous films but as soon as less

(Don’t be fooled by the gate-keepers who are trying to make this less so by

adventurous filmmakers started making shiny happy films, a New Gay-spo-

insisting that the only films that are worthy are the ones shot in HiDef, with

liation Cinema took over. Tepid gay and lesbian festival programmers (and

the latest expensive camera and presented by the latest most-expensive

exhibitors and distributors) were quick to pick up these non-threatening,

projector, they are trying to beat us back – flip them the bird and flick on

“audience pleasers” so they could sell out their opening nights and keep

your cheapo Flip video camera!) Anyone can go out and make a movie with

their boards of directors happy – but what was the cost? Why bother going

a cell phone and edit it on a cheap laptop. And as far as distribution goes

to a festival when you can see these shitty movies on the new pay-per-view

you can put it on youtube yourself and people around the world can see it

gay TV channels? By removing the risk and edge from their programming

instantly. And when a distributor wants to pick up your movie and tells you

they also removed their purpose. But even more damning, they encouraged

it needs a new sound mix or soundtrack or that it needs to be re-edited or

filmmakers to make more “commercial”, “accessible” work. If there are no

blah-blah tell them to love it or leave it! The essence of the work is intrinsic

riots (heheheh) or at the very least, heated discussions happening at your

to the media if you're doing your “job” as an artist correctly. When a festival

festival's screenings then you are not doing your job. Stop programming this

says that you must transfer your movie to that ancient format of 35mm or

shit, and risk the edgier, the grittier stuff. It's out there. It isn't going away.

the newest super-duper digital format ask them why – you'd be surprised

Embrace it. The real art films resist professionalism. If you are a filmmaker

at who doesn't have an answer for this question. We must work together as

worried about your livelihood then get a “real” job! Art isn't a profession.

filmmakers to hold these gate-keepers in line.

Many of my fellow Americans have long ago lost that train of thought. So if “NEW QUEER CINEMA” is dead what’s next? Well – it’s really just out there making cinema. Goodbye “NEW,” (and while we are at it please

structure. Resist closure and embrace ambiguity. Embrace and nurture

include “MODERN” and “POST-anything”) you were never of much use

the audience's intelligence. Throw continuity out the window along with

anyway, since you lose your relevance the moment you are uttered. We are

Chris Johnson in The Flesh Is Willing

Todd Verow, Bangor Films

the term that’s dead, the filmmakers, old and new (and very old) are still

something art. Mistakes are life. We must resist the traditional narrative

Todd Verow, Bangor Films

So – we as filmmakers must experiment. Mistakes are what makes

Devery Doleman in A SUDDEN LOSS OF GRAVITY 23. TEDDY AWARD / www.teddyaward.tv 15

not and have never been new, we are a continuance. Cinema and art are our collective conscience. I’d even argue that it’s a collective gay conscience in some respects. So good riddance “QUEER” you are out of fashion (or are you? who can

Todd Verow (born in 1966) is an American film director who lives in Providence, Rhode Island, USA. He works as an actor, cinematographer, and director. In 1995 he founded Bangor Films. He is considered a veteran of the New Queer Cinema genre. In more recent years his numerous productions on digital video have led to him being dubbed "the once and future king of DV" by independent film magazine "Film Threat".

keep track?) No one can agree on a term so how about “HUMAN”. We are all, for better or worse, human beings. We are human, we are sexual. We are “CINEMA” pure and simple. We will not be ghettoized, categorized or dismissed. We’re here, we are “CINEMA”, get used to it! No more Mr. Nice Gay! Aren't you tired by now of these buff, shiny, happy, pretty pretty gay people in (alleged) comedies about hooking up and being shirtless and oh-so-pretty and oh-so-vacant. No more documentaries about gay marriage and about “how just like everyone else” we are. No more conformity, (whatever that is) and whatever happened to “We’re here we’re

Jonathan Caouette

(born in 1973)

is the director of Tarnation (2003), a radical groundbreaking autobiographyical documentary went on to win awards including Best Documentary from the National Society of Film Critics, the Independent Spirits, the Gotham Awards, the LA and London International Film Festivals. Jonathan Caouette lives in New York, USA. The german filmmagazine film-dienst called Tarnation “a milestone in the history of cinema.”

queer get used to it!” Stop pretending that AIDS (or at least the devastating effects of AIDS), homophobia (outside and inside the gay culture), violence, rape, oppression, murder, censorship, don’t exist. We are outlaws, we are outsiders and we always will be. You don’t need a cock just a camera (and it doesn’t have to be a big camera but you have to have the balls to face down the status quo.). Pull it out. Stroke it. Dare the audience, the critics, the programmers, etc. to suck it. Create like there is no tomorrow (in this modern world, you never know) and shoot, shoot, shoot! Now please wipe up after yourself.

Stephen Winter

(born in 1969)

is an award winning filmmaker. As a producer he worked with Jonathan Caouette on Tarnation and Jonathan’s forthcoming films. Stephen has worked creatively with writer/ directors Allen Hughes and Xan Casavettes on New York: I Love You (2009), John Cameron Mitchell's Shortbus (2006), and Lee Daniels' Push: Based On The Book By Sapphire (2009). As a writer/director Stephen made Chocolate Babies (1997), which had its world premiere at the Berlin Film Festival.

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queer cinema

Tarnation never ends

Tarnation was also from the world of “D-I-Y, do-it-yourself” media, and “underground” or “experimental” film, as embodied by George Kuchar or Maya Deren. Ultimately, the primary influence on Tarnation is probably gut-bucket grindhouse gore horror – like Carrie by DePalma, or City of The Living Dead by Lucio Fulci. To this day it really does drive us crazy to

By Jonathan Caouette and Stephen Winter

see Tarnation placed only in the “queer” or “gay/lesbian” shelf of a video store. “Tarnation” belongs in the “documentary” section, for it is first and foremost a true story. In fact, Tarnation belongs in the “T” section, for we firmly feel separation of films by the apartheid of genre should be done away with and movies should be catalogued solely by title. (Although with

Queer. Film. Two wonderful words. Together they describe a style, a leg-

the bricks and mortar “video store” fast disappearing off the face of the

endary movement and an excellent group of people. We write those words,

planet, I suppose we should both shut up and be happy any films still sit

“Queer Film” and form a sweet smile in memory of some great movies. But

organized on any kind of shelf!)

what we don’t know about the words “Queer Film” is if they mean anything to us right now. And what use, if any, they have in our lives. Do they mean

Since Tarnation's release, the majority of people who come up to us to

anything in our artwork-studios, in the cutthroat marketplace, or in the

tell how the film affected them almost never speak from a point of view of

streets.

sexuality. They are primarily compelled by how Tarnation explores issues of mental health within a family. The particular look in their eyes and way

When Tarnation premiered at Sundance in January 2004, then at Cannes

they describe their experience of this film lets us know the raw tumultuous

a few months later, it was certainly queer in the sense of “surprising,” and

journey Tarnation has opened up within a feeling that was somehow new.

“unexpected.” There had never been a film with the particular intersec-

A compassion about whatever their own experience is with family trauma. The

tion of qualities like Tarnation, and it was a true “queer” blessing (in

film was empowering to their pain. For even if we don’t understand every-

the sense of “astonishing”) that the juncture of forces within the industry

thing, when we as a people realize our true power within there is nothing we

and marketplace were able to focus their energy to get Tarnation into

can’t do. This, to us, is the first cause of Tarnation. There is such terrible

the world with such success. We refer as much to Tarnation's beloved,

prejudice, pain, and misunderstanding to families of people who suffer from

now-defunct (and definitely hetero-dominated) boutique film distributor

extreme mental health issues. Tarnation has its greatest resonance as a

“Wellspring” as “queer,” as we do to our wonderful (and definitely gay male)

film of real progression of understanding. Tarnation is perhaps at its queer-

executive producers Gus Van Sant, John Cameron Mitchell, and co-editor

est in how it features a subplot of two men in love as living a life of normalcy.

Brian A. Kates. As for “Queer Cinema”, we see queerness everywhere. Benjamin Button Still we do not perceive Tarnation primarily as a queer film. Yes, it

seems pretty queer to us. Even though the amount of money it took to cre-

happened to easily fit into a queer context. But it also fit plenty others,

ate any of its three minutes could probably pay for the entirety of what is catalogued now as “Queer Cinema,” but Benjamin Button is one of the

outsider in Hollywood, but not of sexuality), as it did to the then recent

queerest films in years. It has the full queer icon cast: golden loincloth hunk

“family documentary” hits like Capturing the Friedmans, (which

Brad Pitt, sublime movie diva Cate Blanchett, and, of course, Original

featured debate of subversive sexuality but was hardly a “queer” film).

Gangsta warrior queer Tilda Swinton herself. The story is about mothers

Jonathan Caouette, Stephen Winter

owing equally to John Casavettes (certainly “queer” in the sense of artistic

Jonathan Caouette in TARNATION 23. TEDDY AWARD / www.teddyaward.tv 17

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queer cinema

and lovers, beatniks, and dancers. With all the “queer” aspects of chosen

Truthfully, when we think about the words “Queer Cinema” we still think

family, mysticism, freak-shows, smoking dope, jazz, and the war-zone of the

first and foremost about our beautiful friend James Lyons, the achingly

body. It has the classic “queer” romanticism of ultimate love intersecting

brilliant writer, actor, scholar, and film editor whose collaborations with Todd

with the finality of death. And it has a macho action/thriller genre movie

Haynes, Christine Vachon and others resulted in a slew of great films of the

director handling a melodramatic “weepie.” We love that kind of crossroads

classic “New Queer Cinema” period.

of conflicting forces. That’s queer as hell to us. James is now dead. AIDS complications. He died a most brutal protracted Does “Queer Cinema” retain power today as a marketing tool? Perhaps. But

death but, within the last period of his life, he also got together with our

“Queer Cinema” certainly hasn’t any resonance towards successful fundrais-

mutual friend and fellow filmmaker John Bruce, who was also part of the

ing. At least not in America. At least, not in our experience. Before you can

Original Gangsta team of “Queer Cinema” from his work as Art Direc-

market a film, you have to make the movie, and in order to make the movie,

tor on Postcards From America and I Shot Andy Warhol, among

you have to raise the money. The filmmaker only has five minutes to make

others. John Bruce had a film called Danger Island that was “Queer” in

an impression on a possible investor on why they should put money in your

the “indie” sense, as it was handmade and homemade, self financed and

movie – and they will only invest with you for two reasons:

spewed direct from one artist’s bloody soul. With our encouragement, John Bruce and James Lyons came together with their shared experience, year-

1. as a shrewd capitalist who feels they can make tons of

long friendship and love, worked on Danger Island and made some great

money from your film, or

artwork together. That’s a good result. We suppose that was pretty “queer”, in the sense of “community.”

2. an altruistic investor, the philanthropic patron who wishes to facilitate said film to be made out of selfless

So lets continue to take the lead from our friend James Lyons – to para-

concern for the well-being of others

phrase James, what we strive for now and always is GOOD cinema. Scratch that – we need to reach for GREAT cinema. We need to ply away all the

We have not lately seen the words “Queer Film” successfully convince peo-

labels of how to contextualize each other and ourselves in terms of race,

ple to open up their investment portfolios for either reason. Back in the 80’s

class, culture, location, gender, sexuality, type of media delivery, and all

and 90’s there was real need to see new and fresh images of gays, lesbians,

those other absurd boundaries. We want to feel Cinema. Thrill to joy of see-

bisexuals, transsexuals and queers. But in 2009 and beyond – the world

ing. There is a landslide of change happening across the world. The future

of Right Now – that basic need is satisfied. Whether this influx indicates a

is now. We need truths on screen and we need to be surprised. We want to

battle won or a battle lost, its still the truth. We can see non-heterosexual

let all kinds of stories flood across the world, through our eyes and into our

images everywhere – TV, film, internet, print, peer-to-peer media – and all

hearts. That’s what we want: “Queer” in the sense of “curious.” We want

points in between. “Queer” no longer has resonance in terms of a ignored

films that learn us.

Jonathan Caouette, Stephen Winter

audience starved of images.

Jonathan Caouette with his mother, Renee Leblanc, in TARNATION

Renee Leblanc in TARNATION 23. TEDDY AWARD / www.teddyaward.tv 19

TEDDY Jury 2009

RUDI FÜRSTBERGER (born in 1969)

STEPHEN KENT JUSICK (born in 1969)

marketing such films as AMERICAN

PSYCHO, PRESQUE RIEN, L.I.E.

privat

AND MONSTER’S BALL, as well as for NewFest, LGBT Film Festival, New York.

ANGRY INCH DVD. Jusick's Super-8 documentation of bands include: the Scissor Sisters, Fischer Spooner, Le Tigre, Lou Reed, and Moby. In January 2001 he founded the CineSalon in New York City, which inspired John Cameron Mitchell’s film SHORTBUS, that Jusick appears in.

privat

be seen on the HEDWIG AND THE

privat

MANNY DE GUERRE (born in 1972)

is the Executive Director of MIX New York City Film Festival. He has been curating experimental film since 1989 and making films since 1992. In 1995 he founded Fever Films to distribute experimental film and video for public exhibition. Some of Jusick's Super-8 film work can

privat

COSIMO SANTORO (born in 1973)

is the Programming Director of the Queer Film Festival Verzaubert, touring four German cities every year (Munich, Frankfurt, Cologne, and Berlin) and the Fantasy Film Festival Berlin. Before working for Sundance and publishing several articles on film, Fürstberger took drama classes at the Lee Strasberg Theatre Institute in New York. As a PR-Adviser he worked for the New York based agency Jeremy Walker & Associates, responsible for

privat

works for the Side by Side International Lesbian & Gay Film Festival, Saint Petersburg, Russia. She orga nises and coordinates both their film programming and special events. She holds a degree in Cultural Studies and a Master’s degree in Russian Studies. Manny has carried out extensive research in Russia on the social, political and psychological significance of arts and culture. She has done volunteer work for a local LGBT community in the UK, designed and managed a regional community group’s website, as well as organizing various cultural events including an LGBT film society.

privat

is the Programming Director of the Torino LGBT Film Festival, Italy. He graduated with a degree in Critical Film Theory in 1998. Since then he has published several articles and essays on film, collaborated with the Turin Media Center of Italian Independent Cinema, and worked for CinemAmbiente – Turin International Environment, Documentary in Europe, Cervino International, and Torino Film Festivals. He has curated queer programmes for the Madrid International, Batik Film Festival in Perugia, and for the LGBT Festival Diversa Buenos Aires. He has served as a juror for LGBT Film Festivals at Frameline San Francisco, Mezipatra, and Queer Lisboa.

MERCEDES MARTÍN (born in 1976)

KYLE STEPHAN (born in 1974)

JUSTINE BARDA (born in 1970)

EMINA TRUMIC (born in 1986)

is the head of the International Film Festival on Gender and Sexual Diversity Llamale H, Uruguay. The festival was founded by Francisco Dalmao in 2006. It provides Uruguay with the opportunity to both participate in LGBT film culture and to exhibit queer cinema from all over the world. Martín Mercedes graduated with a degree in Psychology and Psycho-Drama.

programmes for the British Film Institute’s London Lesbian and Gay Film Festival. She served as Guest Curator for the 2008 MIX Brasil Film Festival in São Paulo and as the Curatorial Fellow at SF Camerawork Gallery in San Francisco. She is a Los Angeles based curator, producer, and author, specialised in Latin American cinema, experimental film, and media art. As a producer, she has successfully developed numerous media art projects that have exhibited at various international festivals and venues. She is currently producing a feature-length documentary on the history of the Feminist Art Movement in the US. Her critical writing on film, art, and culture has appeared in numerous publications.

is a programmer for the Seattle International Film Festival and a programming associate for the Sundance Film Festival. Previously she served as Director of Special Initiatives for Hedgebrook, a literary foundation and writers' retreat. She was also the director of Three Dollar Bill Cinema, which produces the Seattle Lesbian and Gay Film Festival. Barda has a Ph.D. in English with a specialization in Cinema Studies. She has written numerous film reviews and is currently working on a collection of short stories. She divides her time between Seattle and Paris.

is one of the four organisers of the first Queer Sarajevo Festival, Bosnia and Herzegovina. Trumic is an activist in Organisation Q, the only active LGBTIQ organisation in Bosnia and Herzegovina. She studied English and German and works as a freelance translator for Q and other organisations and events. Currently she is studying Radiological Technology in Sarajevo. During the war in Bosnia and Herzegovina, along with others, she formed the caravan theater DROMEDAR perfroming across Bosnia and Herzegovina as well as in Germany.

20 TEDDY Rubrikname jury 2009

Großes Kino für Queerdenker. Wir unterstützen den Teddy Award.

Zuschauer gewinnt man dort, wo sie sich aufhalten: im Netz. Damit Ihre großen Filme und cineastischen Visionen nicht ungesehen vorbeiziehen, bringen wir sie ins World Wide Web. Seit mehr als zwölf Jahren entwickeln und gestalten wir erfolgreiche Internetauftritte und wegweisende Videoportale, die ihrer Zeit voraus sind. Und weil großes Kino nicht ohne Zuschauer bleiben darf, bieten wir Ihrem Publikum, was es sich wünscht: intuitive Benutzerführung, klares Design und individuelle Technik.

3-point concepts

Agentur für Kommunikation 3-point concepts GmbH Chausseestr. 56 10115 Berlin Tel.: +49-(0)30-28 51 98-0 Fax: +49-(0)30-28 51 98-28 info@3-point.de http://3-point.de

Can A Boy Be Too Attractive?

Special 09 Award 20 Y D TED goes to

who rful actor “A wonde male d ge an ch forever .” the screen sexuality on aters W hn Jo

Andy Warhol made him famous. The underground films made him a sexual icon. His body made him a legend.

22 can a boy be too attractive

Joe Dallesandro has never understood all the excitement. On a makeshift stage at a club in Chicago in 1998, where Flesh had just been screened, he took questions from the attendees, one of whom wondered why the actor thinks the films continue to interest audiences. By Michael Ferguson

“I never understood why someone would sit through them once, let alone

in petty crimes, then stealing cars, or serving time at a juvenile detention

come back for more”. The crowd laughed, perhaps in part because they

camp where he gave himself his famous tattoo. The nude photos he did for

appreciated his honesty, or maybe it was refreshing to see an actor uneasy

various photographers (the Athletic Model Guild’s Bob Mizer, among them)

with his work, even mystified by it, rather than the egocentric or self-

illustrate a streetwise awareness of his powers of attraction, a kid taking

effacing replies typical at festivals, conventions, and tributes. I couldn’t

advantage of a situation while in turn being taken advantage of. On their

disagree with him more, and he knows it. I discover nuances in the Warhol

own, these photos fail to stand out from those of thousands of other young

and Morrissey films each time I see them. Joe doesn’t fully appreciate his

men who submitted to this treatment to make a little money and cover their

enormous potency as an image, either. That probably has a lot to do with

next meal or pay the rent. Joe would be lost among a sea of such images

personal overkill and a contempt that derives from familiarity, but it also

if it hadn’t been that he eventually made a name for himself. These early

stems from an understandable lack of objectivity. To Joe, the films “were

physique studies are highly collectible to his fans, but remain historical arti-

what they were”. And now they’re over and done with. His cult status as an

facts without suggestion of potential. They are a photographic record of his

iconic figure of the so-called underground film, even as the first nude male

youthful body, something which even he has come to appreciate, if pressed

film star, is deserved and reason enough to pay homage, but how comfort-

to do so, and a unique tie in his serendipitous connection to queer culture,

able can it be for this man to know that his unclad form is the key to his

yet his participation was purely practical.

adulation, to say nothing of a now middle-aged man forced to confront his naked youth time and time again?

Pretty boys can certainly inspire, but they can also be replaced. You have to

1968 Kenn Duncan. Licensed with permission, New York Public Library for the Performing Arts.

possess more than good looks to attain the longevity of a Dallesandro. What His avant-garde display as male sex symbol, offered up for objectification

we discovered in the films he made for Andy Warhol, and most importantly,

in a fashion historically reserved for women in the cinema, has left him

for Paul Morrissey, was a natural actor with extraordinary and unanticipated

disconnected from a sense of real accomplishment. This isn’t to say that

resources, a charismatic screen presence, a beguiling manner, and a coun-

his beauty doesn’t merit attention or is without reason for celebration. We

tenance that transmitted his every thought. His flesh in advertisements for

weren’t accustomed to looking at our handsome leading men casually naked

Flesh (1968) – which carried the tag line “Can a Boy Be Too Attractive?” –

on screen and the effect was powerful; seen variously as liberation and

might have been the lure, but it was the boy himself who captivated us, a

exploitation by women, pander and provocation by straight men, acknow

sometimes sweet, even shy, often temperamental young man forcing himself

ledgment and wish-fulfillment by gay men. In the United States, where

to hustle through another day’s life in the big city. Morrissey placed an enor-

prudishness and guilt intensifies the erotic power of the nude, no matter

mous burden on his neophyte star. Joe is not only in every scene of Flesh,

how perfunctory its exhibition, Joe Dallesandro was a revelation. He has re-

but the camera is nearly transfixed by his visage, often lingering on his face

iterated that when he was asked to strip down to his underwear and wrestle

while others speak. It’s an astonishing pledge of confidence to risk your film

Ondine in The Loves of Ondine, his first Warhol and Morrissey film, he

on an audience’s willingness to follow essentially one actor, on sustaining

agreed to do so without thinking much of it. He had by 18, and surely long

interest while watching his expressions and reading into other characters

before, learned that he held certain attractions to both men and women and

through his reactions. If there was a hitch to Joe’s doing the role and

that he might be asked to put them to use. Morrissey saw a good-looking

handling all of the attention and fame – and eventual worship – to come,

kid who had wandered in off the streets to watch a film in progress, and

it was in having the character he played in Flesh, and then the impotent

simply wanted to see how he would work in front of the camera, but young

druggie he essayed in Trash, so closely melded in the viewer’s mind with

Joe had no inkling that this was anything other than amateur moviemaking,

his off-screen self. The intrinsic identification was key to the remarkable fol-

let alone the beginning of an international film career. He scoffed when

lowing the films developed and the equally remarkable emotional response

asked to sign a release. Perhaps the situation didn’t seem far removed from

they aroused. With the low budgets and improvisational nature of these

the men who had asked him to model nude while he was a teenage runaway,

movies, an array of curious personalities parading before the camera often

not long after living in foster homes, getting into fights at school, engaging

calling each other by their real first names, as well as the Warhol brand and

23. TEDDY AWARD / www.teddyaward.tv 23

the growing mythology of his Factory, the line between what was acting and what was real had been blurred to the point of obliteration. Audiences could hardly be blamed for thinking that the Joe they saw up there on screen was the Joe they might meet on the street corner. Asked whether he was aware of what he meant – as image, as icon – to audiences at the time, if he was at all clued in to their perception, Joe says, “I was quite aware of what I meant to an audience. Yeah, I knew that I was people’s fantasy. But it didn’t affect me. It didn’t make me feel like I was beautiful. I just felt great because people liked me… and I needed that love. I went through a childhood Little Joe Productions

in which I was missing a lot of that love”. This is the essence of the man, a kid from the streets truly thankful for the career that came to him out of nowhere and provided a wealth of opportunities, but also conflicted by that other Joe, the projected image. Morrissey’s films employed Joe as sex object to censure a manifest corruption of values in America, with its sex and drug obsessions. In many ways, though, Joe transcended that critical view while embodying it, eliciting compassion and demonstrating how audiences tend to take away from a film or an actor what it is they need. Joe wasn’t required

In Europe, Joe embraced offers to appear in urban gang movies (chilling in

to say anything to his audience in order to speak to them, of course, but

the best of them, Fango bollente), exploitation, even literary costume

his reputation for not saying much in his Morrissey or Warhol movies is

drama (Un Cuore semplice), anything that would change his image or

contradicted by the films themselves. I think that this perception, one which

widen his horizons, all the while weaving in and out of “art” pictures: as

I shared for quite some time, is skewed by how otherwise “normal” Joe’s

a mute player in a fairy tale battle of the sexes for Louis Malle (Black

characters appear when surrounded by flamboyant, larger-than-life, and

Moon), as a gay garbage truck driver in love with Jane Birkin’s behind for

very talkative characters. By comparison, he seems subdued and silent.

Serge Gainsbourg (Je T’aime moi non plus), as a married man doomed

Where others are verbose and vociferous, Joe Dallesandro is economical and

by sex in Paris for Walerian Borowczyk (La Marge), as a mystery boyfriend

quietly efficient.

who may or may not be trustworthy for Jacques Rivette (Merry-GoRound), and in a cameo as a self-centered American actor for Catherine

Sometimes one has to be a close listener to catch the verbal gems, such

Breillat (Tapage nocturne).

as his strange remark in Flesh right after the blow job that “Mother used to watch and she didn’t mind”. The throwaway comment suggests an entire

His return to America in the early 1980s was professionally complicated

subplot, or at the very least a dysfunctional family history that could explain

because his industry didn’t really know who he was or associated him solely

why the character is doing what he’s doing. In Lonesome Cowboys

as the underground sex symbol and not as a legitimate actor. Further skew-

(1969), when Taylor Mead hesitates after prefacing “When you’re gay, when

ing his perception of the value of his work, he wasn’t aware of the degree to

you want to be gay…,” Joe interrupts with, “Well are you or aren’t you?” He

which critics in the United States credited his performances in the Morris-

does so with a smile in his voice, cutting to the chase, stating the obvious

sey films. Those films were not afforded the attention and respect they had

without a trace of prejudice, as if such things didn’t matter to him as much

in Germany. Sir Laurence Olivier expressed admiration when Joe visited his

as he was confused that Mead didn’t seem to know. His contributions are

dressing room in London in the early 1970s. “He’s in the middle of finishing

without meditation, instinctual and happily full of subtext. In Heat, Sally

a performance,” remembers Joe, “and he’s obviously not looking for anything

Todd remarks how much Joe has grown up and he answers, “Kind of”. It’s

from me. He’s not making a date. But he’s seen the work and appreciated

the perfect reply from a character who’ll reveal himself to be an overgrown

them for what they were and was complimenting them. I had to take the

child, a narcissist. Replay the later scene where he talks to Sally in the

comment graciously. I told myself not to let it go to my head when people

living room of her mansion and marvel at his ease, so unaffected in his

like Laurence Olivier or Dustin Hoffman or Norman Mailer would say nice

delivery, with beautiful, subtle shifts in expression, conveying cynicism and

things about me. It was just that they appreciated my work”.

melancholy.

24 can a boy be too attractive

CAN A BOY BE TOO ATTRACTIVe

Unstudied in his technique, and always first to say he is only capable of playing a role one way, he was (and is) an actor looking to a good director to bring out the best in him. He often takes roles on the basis of the filmmaker’s belief in his potential. He’d ask the director, “Can you see me doing this?” He understands that all actors have their method, but what matters is the result. It’s not at all surprising that his fondness for actors arises from

Michael Ferguson

respect of a bygone era. If his roster of heavies and gangsters in American

is the author of the books “Little Joe, Superstar: The Films of Joe Dallesandro” (1998) and “Idol Worship: A Shameless Celebration of Male Beauty in the Movies” (2004). He lives in Chicago.

films (for directors such as Coppola and Edwards) and on television (notably Wiseguy) share mannerisms and attitudes, they are culled from a love of old movies, of Cagney and E.G. Robinson. Little tough guys. Joe often says that all he really had to do for the films that made him famous was show up. In a profound sense, he’s absolutely right. There’s purity in that statement that’s undeniable, and charming as all hell, too, but they wouldn’t have worked had he only been a body. Joe became the most popular male Superstar of the underground cinema because of innate qualities, much the same way that Gable was the most popular male film star of Hollywood in the 1930s. Both resonated and wrestled with cultural concepts of masculinity. Joe fulfilled a desire in audiences, satisfied a longing, and fostered

(born in 1962)

Related Films Tapage nocturne by Cathérine Breillat / Panorama Celebration Presentation 9.2. / 20.00 CineStar 7 15.2. / 12.00 CineStar 7 Little Joe by Nicole Haeusser / Panorama Dokumente / 10.2. / 14.30 CineStar 7 12.2. / 17.00 International 13.2. / 17.30 Cubix 7 15.2. / 15.30 Colosseum 1

empathy. For a generation of gay men, he was a vital sex symbol, perhaps

Live

even an affirming, liberating one. Straight or gay, male or female, though,

Joe Dallesandro will attend the 23rd TEDDY AWARD Ceremony, February 13th, 9pm, at the Haus der Kulturen der Welt.

you couldn’t watch Joe in the late 1960s or 1970s and not confront your perspective on sexuality and attraction. The off-screen projection of Joe as an available to all-comers partner is one that has plagued him for years. He is, in many ways, a moral man to whom family and relationships are held in high esteem. He gets upset when asked questions about who he’s slept with and how often. This reduction of his persona to the purely sexual is deeply insulting and an affront to his personal values. He understands, sometimes with great difficulty, that people find him attractive, but no license is given to exploit that attraction or assume that he’s hypersexual or willing to be had for a price. It isn’t that he finds sex absurd, as Paul Morrissey seems to, or that he’s obsessed and repulsed by it simultaneously, as Andy seems to have been. What it is, for Joe, is private. Joe Dallesandro is indeed a private man; never a partygoer or seeker of the limelight. He’s happy to act when the right project comes along, but he’s just as inclined not to seek those opportunities out on his own. He’s a homebody, caring for his cat and watching his cartoons, indulging his affection for fantasy and science fiction. The Berlin International Film Festival’s appreciation and the honour of a special TEDDY AWARD are a formal acknowledgement of his achievements as underground film star, gay icon, and actor. The first two remain curious and ambivalent labels to him; the last, a justifiable and in some respect overdue accordance we may have to convince him he deserves.

23. TEDDY AWARD / www.teddyaward.tv 25

Ai no mukidashi (Love Exposure)

An Englishman In New York

DIRECTOR Sono Sion

DIRECTOR Richard Laxton

CAST Takahiro Nishijima, Hikari Mitsushima, Sakura Ando

CAST John Hurt, Denis O'Hare, Jonathan Tucker, Swoozie Kurtz, Cynthia Nixon

FORUM Japan 2008, 237 Minutes, Japanese, English Subtitles 6.2. / 19.00 Delphi Filmpalast

7.2. / 09.30 CineStar 8

8.2. / 17.30 Arsenal 1

14.2. / 20.00 Cubix 9

The nearly four hour visually stunning epic AI NO MUKIDASHI provocatively relates the tale of Yu, an adolescent, whose life is thrown into complete turmoil upon the death of his saint-like mother. His father's response to his wife's passing is to devote himself increasingly to an extreme Catholic fervour, consequently applying enormous pressure on Yu. Desperate to find some sort of sins he can confess to his father, he delves into a bizarre underground group whose goal is to secretly photograph unsuspecting girls' panties. Here he encounters his most adored Maria, yet later unveiled she turns out to be a man-hating provocateur... Crossing paths with other lost souls and cult groups, Yu also finds love in the most unexpected places and convoluted ways. Sono Sions's fast-paced, outrageously irreverent saga is dizzyingly inventive and hugely entertaining. His film Strange Circus screened in the Forum in 2006. Das sich nahezu über vier Stunden erstreckende, bildgewaltige Epos AI NO MUKIDASHI erzählt auf provokative Art und Weise die Geschichte eines Heranwachsenden, dessen Leben sich nach dem Tod seiner Mutter radikal verändert. Sein Vater, der sich nach dem Tod seiner Frau verzweifelt in den katholischen Glauben gestürzt hat, übt dadaurch auf seinen Sohn Yu enormen Druck aus. Als Yu nicht mehr weiß, welche Sünden er seinem Vater noch beichten kann, damit sich dieser zufrieden gibt, beginnt er nach Sünden zu suchen: Auf diese Weise landet er in einer Gruppe, die heimlich die Unterhosen ihrer ahnungslosen Besitzerinnen fotografiert. So begegnet er schließlich auch seiner angebeteten Maria, die sich allerdings als Männer hassende Unruhestifterin entpuppt... Sono Sions Film STRANGE CIRCUS wurde 2006 ebenfalls in der BerlinaleSektion Forum gezeigt.

26 feature film / spielfilm

Panorama Great Britain/USA 2008, 74 Minutes, English 7.2. / 22.30 Cubix 7

7.2. / 22.30 Cubix 8

12.2. / 10.30 CinemaxX 7

11.2. / 19.00 Zoo Palast

13.2. / 14.30 Cubix 9

In 1975, at the age of 66, openly gay writer Quentin Crisp has given up on finding fame and so it comes rather as a surprise when the British TV film THE NAKED CIVIL SERVANT, which is about his life so far, makes him a celebrity overnight. However, while Quentin had successfully pushed a nation out of the closet, the nation “had a name to put to their demon.” Refusing to return to anonymity and following an invitation to New York, Quentin finds himself in the country where he is welcomed with open arms. What was seen as freakish in London is normal in the Big Apple and having secured his Resident Alien status for his “unique qualities”, Quentin becomes the toast of New York society. In his off-Broadway show he also advises people on, “how to be happy”. But it's the gay community this time who now condemn him. In one of his shows Quentin unwisely describes AIDS as “a fad.” The consequences are devastating. His hit show is pulled… But it is his friendship with the young and gay artist Patrick Angus that proves to be a profound revelation. Patrick is in search of his “Great Dark Man”, a journey that is leading him to disillusion and destruction. Patrick confesses that he agrees with Quentin – homosexual love is impossible. Lately Patrick has contracted HIV… 1975: Der offen homosexuell lebende Autor Quentin Crisp hat mit seinen 66 Jahren gerade die Hoffnung aufgegeben, vielleicht doch noch berühmt zu werden, da macht ihn der überraschende Erfolg des britischen Fernsehfilms THE NAKED CIVIL SERVANT, der auf Quentins Leben basiert, über Nacht zum Star. Während Quentin erfolgreich eine ganze Nation dazu zwingt, sich zu outen, dämonisiert ihn diese dafür. Sie verweigert ihm, in die Anonymität zurückzukehren. Als Quentin schliesslich einer Einladung nach New York folgt, findet er sich in einem Land wieder, das ihn mit offenen Armen empfängt. Was man in London als außerirdisch ansieht, ist in New York normal, es sichert ihm sogar seine Aufenthaltsgenehmigung. Quentin wird zu einer festen Größe der New Yorker Gesellschaft. Als Kleinbühnendarsteller, fernab vom Broadway, unterweist er sein Publikum im „Glücklichsein“. Doch es ist ausgerechnet die Gay-Community, die ihn verurteilt… In einer seiner Shows beschreibt er eines Tages die noch unbekannte Krankheit AIDS als eine Art Modeerscheinung. Die Konsequenzen sind verheerend: Seine Erfolgsshow wird abgesetzt… Am Ende ist es die Freundschaft mit dem jungen homosexuellen Künstler Patrick Angus, die sich als Offenbarung erweist. Patrick ist auf der Suche nach dem Mann seines Lebens, eine Reise, die in Desillusionierung und Dekonstruktion endet. Patrick gesteht sich schliesslich ein, dass Quentin an einem Punkt recht zu haben scheint: Homosexuelle Liebe ist nicht möglich. Doch dann infiziert sich Patrick mit HIV…

feature FILM / spielfilm

der knochenmann (The Bone Man)

Ander DIRECTOR Roberto Castón

DIRECTOR Wolfgang Murnberger

CAST Josean Bengoetxea, Cristhian Esquivel, Mamen Rivera, Pilar Rodriguez, Leire Ucha, Pako Revueltas, Eriz Alberdi

CAST Josef Hader, Josef Bierbichler, Birgit Minichmayr, Christoph Luser, Pia Herzegger

Panorama Basque Country,123 Minutes, Basque/Spanish, English Subtitles

Panorama Austria 2008, 120 Minutes, German, English Subtitles

11.2. / 21.30 Zoo Palast 13.2. / 17.00 Cubix 9

12.2. / 12.30 CinemaxX 7

15.2. / 17.30 International

9.2. / 21.30 Zoo Palast

10.2. / 12.30 CinemaxX 7

11.2. / 17.00 Cubix 9

15.2. / 21.30 Zoo Palast

ANDER is a meditative and intimate portrait of a Basque countryman, who despite his advanced age, still lives at home with his sister and his dominant mother. His monotonous life that entails his work at a bicycle factory, his peasant duties shared with his family, and occasional drinking benders, drastically changes following an accident. To keep his family's farmyard going he hires José, a young Peruvian migrant worker. This attractive young man unintentionally alters the long-standing dynamics between Ander, his relatives, and acquaintances. Ander realizes he is developing deep feelings towards José. After his mother's death, he has to decide whether he will transform his life to include him or not…

Every week thousands of chickens are gnawed down to the bone in a restaurant. A bone-grinding machine reduces the remains of the chickens to make feed for the next generation of poultry. A never ending cycle of eating and being eaten. Even Brenner, an ex-detective, does not seem to remember what it is he is doing there, he was only supposed to find a man who was missing without a trace... In the end in the basement of the restaurant, while a masked ball is taking place, love making and murdering go hand in hand and Brenner rushes to the hospital. He brought his little finger which was cut off during the fight. All that is not so bad, Brenner ought to be happy that his head is still attached to his neck.

Auf eine sehr intime, nahezu meditative Art und Weise wird in ANDER die Geschichte eines baskischen Bauern erzählt, der trotz fortgeschrittenen Alters immer noch mit seiner Schwester und seiner dominanten Mutter zusammenlebt. Sein monotones Leben, das sich zwischen seiner Arbeit in einer Fahrradfabrik, auf dem Hof seiner Eltern und gelegentlichen Trinkgelagen abspielt, ändert sich nach einem Unfall schlagartig. Um den Fortgang des Hofes zu gewährleisten, muss Ander einen jungen peruanischen Gastarbeiter anheuern, José. Der junge gut aussehende Mann verändert unmerklich die festgefahrenen Beziehungsstrukturen auf dem Hof und Ander, der beginnt tiefe Gefühle für José zu entwickeln, muss sich nach dem Tod seiner Mutter entscheiden, ob er zu dieser Liebe steht oder nicht…

In einem Restaurant werden wöchentlich tausende Hühner bis auf die Knochen abgenagt. Eine Knochenmehlmaschine zermahlt die Hühnerreste zu Hühnerfutter für die nächste Hühnergeneration. Der ewige Kreislauf des Fressens und Gefressenwerdens. Was der Ex-Detektiv Brenner dort treibt? Das weiß er am Ende auch nicht mehr so genau, denn eigentlich sollte er nur einen Mann suchen, der spurlos verschwunden war... Am Ende wird im Keller des Restaurants während eines Maskenballs geliebt und gemordet und Brenner fährt ins Unfallkrankenhaus. Mit dabei hat er seinen abgeschnittenen kleinen Finger, den er beim Kampf verloren hat. Aber das alles ist nicht so schlimm, denn Brenner muss froh sein, dass er seinen Kopf noch auf dem Halse trägt.

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23. TEDDY AWARD / www.teddyaward.tv 27

feature FILM / spielfilm

El niño pez (The Fish Child)

End Of Love

DIRECTOR Lucía Puenzo

DIRECTOR Simon Chung

CAST Inés Efrón, Emme, Pep Munné, Arnaldo André, Carlos Bardem

CAST Chi Kin Lee, Guthrie Yip, Ben Yeung, Joman Chiang, Clifton Kwan

Panorama Argentina/Spain 2009, 93 Minutes, Spanish, English Subtitles

Panorama Hongkong/China 2009, 95 Minutes, Cantonese, English Subtitles

6.2. / 21.30 Zoo Palast 8.2. / 17.00 Cubix 9

7.2. / 13.00 CinemaxX 7

14.2. / 22.30 Cubix 7

14.2. / 22.30 Cubix 8

Lala, a teenager from the most exclusive suburban neighborhood in Argentina is in love with the enigmatic and attractive Guayi, a 20-year-old Paraguayan maid employed in her parents’ home. They dream of living together in Paraguay, on the shores of Lake Ypoá. They rob every purse and wallet in the house to fulfill their fantasy, concealing the money in a shoe box. Yet once they have enough money, rage, jealousy, and desire suddenly fuse in a fatal recipe threatening to destroy their dreams and shake her family ties at their very foundations. This spurs their great escape via the highway that connects the North of Buenos Aires to Paraguay. While Lala waits to be reunited with her lover in Ypoá, she is confronted with her past. She reflects upon the mystery surrounding her pregnancy and the mythical legend Guayi often recounted about a fish child that guides the drowned to the bottom of the lake. But Guayi never arrives in Ypoá, she is held at a juvenile detention centre on the outskirts of Buenos Aires, under suspicion of murdering Lala’s father.

Lala, ein junges Mädchen aus gut situierten Verhältnissen, liebt die geheimnisvolle und attraktive Guayi, ein Dienstmädchen aus Paraguay, das im Hause ihrer Eltern arbeitet. Beide träumen davon, am Ufer des Ypoá-Sees in Paraguay zusammen zu leben. Doch um ihren Traum in die Tat umzusetzen, brauchen sie Geld. Also bestiehlt Lala ihre Eltern und sammelt das Geld in einem Schuhkarton. Als Lala endlich genügend Geld beisammen hat, drohen plötzlich alle Träume zu zerplatzen: Wut, Eifersucht und Verlangen sind zu einem gefährlichen Cocktail geworden, eine hochexplosive Mischung, die das Leben ihrer Familie in den Grundfesten erschüttern wird… Lala wird sich schließlich auf den Weg machen, vom nördlichen Buenos Aires nach Paraguay und in Ypoá auf ihre Geliebte warten. Dort wird sie jedoch mit der Vergangenheit Guayis konfrontiert und die mythische Geschichte um das Fischkind, das die ertrunkenen Seelen zum Grunde des Sees begleitet, die ihr Guayi immer wieder erzählte, beginnt plötzlich Gestalt anzunehmen… Aber Guayi wird in Ypoá niemals ankommen, wegen Mordverdacht an Lalas Vater wurde sie in eine Jugendstrafanstalt außerhalb von Buenos Aires gebracht.

28 feature film / spielfilm

7.2. / 17.00 International

9.2. / 22.30 Cubix 7

13.2. / 19.00 Zoo Palast

14.2. / 10.30 CinemaxX 7

9.2. / 22.30 Cubix 8

END OF LOVE portrays Ming's life. At a Christian rehab center a friendship blossoms between Ming and Keung, a former drug addict. In flashbacks we learn about Ming's journey, beginning with his over-protective partner, from whose clingy arms he flees, commencing an adventurous odyssey through the gay underworld. His friend Cyrus pushes Ming into gay prostitution, which soon sends him through the highs of total abandonment of drugs and a party life, to the seedy lows of incarceration. In rehab, Ming gets to know Keung, and is increasingly drawn to him. Meanwhile his past is slowly revealed. But their deep friendship is only short-lived. When Keung´s girlfriend breaks up with him, it all ends in yet another tragedy. The director Simon Chung reflects upon his second feature: “The main character in the film, Ming, is based on the experiences of a friend of mine, a part-time male prostitute who attempts to balance his job with his love life. The film is not a social-realist drama documenting the plight of gay prostitutes, rather it utilises the main character's profession to explore issues such as love, drugs, sex, fidelity and morality.” END OF LOVE erzählt Mings Lebensgeschichte. Ming und Keung freunden sich in einem christlichen Rehabilitationszentrum an. In Rückblenden wird erzählt wie Ming aus seiner einengenden Beziehung flüchtet, seine anschliessende abenteuerliche Odysee durch die schwule Verbrecherwelt, Prostitution und Drogenabhängigkeit endet für Ming schliesslich mit der Inhaftierung und der anschliessenden Rehabilitation. Aber die Freundschaft zwischen Ming und Keung scheint für Ming mehr zu sein… Doch Mings Vergangenheit lässt sich nicht länger verdrängen und die Freundschaft mit Keung steht auf dem Spiel als Keungs Freundin die Beziehung beendet. Regisseur Simon Chung über seinen zweiten Film: „Die Hauptfigur im Film basiert auf den Erfahrungen eines Freundes, der selbst als Stricher arbeitet und versucht seinen Job und sein Liebesleben auf die Reihe zu bekommen. Es ging nicht darum, einen sozialkritischen Film zu machen, der Probleme von Strichern aufzeigt. Aber der Film nutzt die Thematik, um Begriffe wie Liebe, Sex, Treue und Moral genauer unter die Lupe zu nehmen.“

AB 19.02.2009 IM KINO

Fig Trees

Fucking Different Tel Aviv

DIRECTOR John Greyson

DIRECTOR 12 different gay and lesbian filmmakers

CAST Van Abrahams, David Wall, Denise Williams, Deb Overes, Ezra Perlman, Alexander Chapman

Panorama Germany/Israel 2008, 94 Minutes, Hebrew, English Subtitles

Panorama Canada 2009, 104 Minutes, English 9.2. / 20.00 CinemaxX 7

10.2. / 22.45 CineStar 3

11.2. / 17.45 CineStar 3

15.2. / 20.15 CineStar 3

FIG TREES is a documentary opera about AIDS activists Tim McCaskell from Toronto and Zackie Achmat from Capetown and their struggle for access to treatment drugs. In 1999, Zackie Achmat went on a treatment strike, refusing to take his pills until they were made widely available to all South Africans. Documentary interviews, speeches, press conferences and demonstrations are sampled, set to music, and replayed as operatic scenes. A surreal fictional narrative is intercut with the story of their struggles against the government and the pharmaceutical industry. In this fictional world, Gertrude Stein writes a tragic opera about Tim and Zackie and their saint-like heroism. She kidnaps them, transports them to the Niagara Falls, and forces them to sing a series of complicated avant-garde vocal compositions. However, when Zackie ends his treatment strike and resumes taking his pills, Gertrude realises that there is no longer any tragedy, and thus, no more opera. FIG TREES ist eine Doku-Oper über die beiden AIDS-Aktivisten Tim McCaskell und Zackie Achmat. Der eine lebt in Toronto, der andere in Kapstadt. 1999 tritt Zackie Achmat einen Behandlungsstreik an. Er verweigert die Einnahme seiner lebenswichtigen HIV-Medikamente und fordert den freien Zugang zu diesen Medikamenten für alle Südafrikaner, die sich mit HIV infiziert haben. Für FIG TREES wurden dokumentarische Interviews, Reden, Pressekonferenzen und Demonstrationen gesampelt, mit Musik versetzt und als Opernszenen neu improvisiert. Diese surreale, fiktive Geschichte wird immer wieder unterbrochen durch die dokumentarischen Bilder, die den Kampf der beiden Aktivisten gegen die Regierung und Pharma-Industrie zeigen. In der fiktionalen Welt des Films schreibt Gertrude Stein eine tragische Oper über Tim und Zackie und deren Heldentaten. Sie entführt die Männer, bringt sie kurzerhand zu den Niagara Fällen, und zwingt sie, komplizierte, avantgardistische Kompositionen zu singen. Doch als Zackie seinen Behandlungsstreik beendet und die Medikamente wieder einnimmt, realisiert Gertrude, dass die Tragödie nicht mehr länger existisert und damit auch keien Oper mehr.

30 feature film / spielfilm

7.2. / 22.30 Colosseum 1

11.2. / 13.00 CinemaxX 7

12.2. / 20.00 CinemaxX 7

14.2. / 17.45 CineStar 3

The third installment of the conceptual series FUCKING DIFFERENT (the first was shot in Berlin and the second in New York), this anthology aims to provide a cross-over assessment of queer sexuality in contemporary Tel-Aviv, from the perspective of 12 gay and lesbian filmmakers based in Israel's cultural capital. As in the previous compilation, lesbian directors were asked to make short films depicting their views of gay sexuality and eroticism, and gay filmmakers were to describe love and sex between women. All genres were allowed. The only parameters which were required were the length of each film – between three and eight minutes – and the final format: Mini-DV. With an overall emphasis on stories, characters, plot, and atmosphere, the collection presents a well-balanced mix of fiction, documentary, and experimental films that reveal the key role politics and religion play in gay and lesbian sexualities in this part of the world. While these recurrent underlying themes could potentially reinforce stereotypes of what it is like to be queer in Tel-Aviv today, the diversity of approaches undermines any attempt to define any single gay and/or lesbian Israeli sensibility and/or lifestyle. Faithful to the original project shot in Berlin, FUCKING DIFFERENT TEL-AVIV addresses existing clichés of masculinity and femininity, while trying to eradicate them through exposure, scrutiny, or simply recognition. Mit der dritten Folge von FUCKING DIFFERENT (die erste wurde in Berlin und die zweite in New York abgedreht) gewähren 12 schwule und lesbische Filmemacher, die in Tel Aviv zuhause sind, einen ganz speziellen Blick auf die Verschiedenfarbigkeit queerer Sexualität in ihrer Stadt. Wie schon in den ersten beiden Kompilationen wurden lesbische Regisseurinnen gebeten, einen Kurzfilm über ihre Vorstellungen von schwuler Sexualität und Erotik zu drehen, die schwulen Regisseure wiederum sollten sich mit den Spielarten weiblicher Sexualität und der Liebe zwischen Frauen filmisch auseinandersetzen. Dabei war das Genre frei wählbar. Die einzige Bedingung: Der Film musste zwischen 3 und 8 Minuten lang sein und auf Mini-DV gebannt werden. Herausgekommen ist eine gute Mischung aus Fiktionalem, Dokumentarischem und Experimentellem, die deutlich macht, was für einen großen Einfluss Politik und Religion in diesem Teil der Erde auf die lesbische und schwule Sexualität haben. Die Mischung aus atmosphärisch dicht erzählten Geschichten, unerwarteten Wendungen und ungewöhnlichen Charakteren gibt einen Einblick ins queere Leben Tel Avivs. Getreu der ersten in Berlin entstanden Folge hinterfragt FUCKING DIFFERENT TEL AVIV die gängigen Vorstellungen von Weiblichkeit und Männlichkeit.

feature FILM / spielfilm

Ghosted

Heosuabideuleui ddang (Land of Scarecrows)

DIRECTOR Monika Treut

DIRECTOR Roh Gyeong-Tae

CAST Inga Busch, Huan-Ru Ke, Ting-Ting Hu, Jack Kao, Marek Harloff

CAST Kim Sun-Young, Phuong Thi-Bich, Jung Du-Won

Panorama Germany/Taiwan 2009, 92 Minutes, German/English/Mandarin, English Subtitles

Forum South Korea/France 2008, 90 Minutes, Korean/Tagalog, English Subtitles

7.2. / 20.00 CinemaxX 7 8.2. / 22.30 Cubix 8

8.2. / 22.30 Cubix 7

9.2. / 17.45 CineStar 3

GHOSTED is the haunting story of an unusual love affair bridging two cultures and two cities: The sudden death in unexplained circumstances of her young Taiwanese lover, Ai-ling, throws Hamburg artist Sophie Schmitt completely off kilter. She travels to Taipei to exhibit a video installation dedicated to Ai-ling. On the opening night, Sophie is approached by a pushy journalist, Mei-li, who takes her on a trip to the famous Taipei night markets and attempts to seduce the grieving artist. But Sophie rejects her and returns to Hamburg. Shortly thereafter, Mei-li turns up unannounced on Sophie's doorstep. Soon, Sophie realises that Mei-li is secretly investigating Ai-ling's death. Sophie is unsettled by a series of events and sudden flashbacks. Then she discovers that the Taiwanese newspaper that Mei-Li claims to work for has never heard of her and that no one with her name has ever entered Germany. Who, then, is this beautiful and mysterious stranger...? Monika Treut: “In Chinese and Taiwanese cinema spirits of the dead return to take revenge. Women enjoy a freedom in these stories, which traditional suppression had denied them in everyday life. In this in-between world they become the erotic, daring, charming, and ambitious creatures they wanted to be, finally pursuing their own desires.” GHOSTED erzählt die Geschichte einer ungewöhnlichen Liebe, die zwischen zwei Kulturen und zwei Städten Brücken schlägt: Der ungeklärte Tod ihrer taiwanesischen Geliebten Ai-ling bringt die Hamburger Künstlerin Sophie Schmitt völlig aus dem Gleichgewicht. Als Sophie eine Video-Installation zum Andenken an ihre Geliebte in Taipeh vorstellt, heftet sich eine geheimnisvolle Journalistin an ihre Fersen. Die forsche Mei-li zieht Sophie sofort in ihren Bann – auch wenn sie irritiert ist von deren Zudringlichkeit und Neugier. Einen Ausflug über die berühmten Nachtmärkte von Taipeh nutzt Mei-li, um die immer noch trauernde Sophie zu verführen. Aber Sophie weist sie brüsk zurück und reist überstürzt nach Deutschland ab. Kurz darauf steht Mei-li unangekündigt vor ihrer Tür in Hamburg. Sophie nimmt sie auf und erliegt ihrem Charme. Bis Sophie feststellen muss, dass Mei-li heimlich Ai-lings Tod recherchiert. Rätselhafte Vorgänge häufen sich, Erinnerungsfetzen dringen immer stärker in die Gegenwart. Sophie findet heraus, dass Mei-Li weder für eine taiwanesische Zeitung arbeitete noch offiziell nach Deutschland einreiste. Wer ist die unheimliche Schöne? Monika Treut: „Im chinesischen und taiwanesischen Kino kehren die Geister der Toten zurück, um sich zu rächen. Sie sind Wesen außerhalb der Ordnung, vor allem die weiblichen Geister der unterdrückten Frauen haben nun alle Freiheiten: Endlich können sie ihren eigenen Wünschen folgen, erotisch, wagemutig, zielstrebig und bezaubernd sein.“

10.2. / 16.30 Delphi Filmpalast

12.2. / 12.30 CineStar 8

13.2. / 20.00 Arsenal

In a contaminated landfill zone of rural South Korea, the fates of three lonely figures are intertwined: Ji-Young, a female installation artist living as a man, meets Rain, a shy young woman from the Philippines, through a marriage agency. Ji-Young's adopted son Loi-Tan, is also from the Philippines. When Ji-Young finds the recently married bride without her groom, he goes looking for his lost father... Roh Gyeong-Tae’s film takes place in a world where neither animals nor plants seem to have the form or taste that 'nature' intended, and where humans seems to be just as undefined. In einer von Mülldeponien verseuchten ländlichen Gegend Südkoreas verflechten sich die Schicksale drei einsamer Menschen: Der Installationskünstler Ji-Young, der eigentlich eine Frau ist, aber als Mann lebt, bekommt über eine Heiratsagentur die schüchterne Rain von den Philippinen vermittelt. Auch Ji-Youngs Adoptivsohn Loi-Tan stammt von den Philippinen. Als Ji-Young die frisch vermählte Braut jedoch ohne ihren Bräutigam vorfindet, begibt er sich auf die Suche nach seinem verlorenen Vater... Roh Gyeong-Tae entwirft in HEOSUABIDEULEUI DDANG eine Welt, in der weder Tiere noch Pflanzen so sind, wie sie scheinen und sich auch die Menschen nicht mehr in die klaren, von der Gesellschaft vorgegebenen Geschlechterrollen pressen lassen.

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23. TEDDY AWARD / www.teddyaward.tv 31

feature FILM / spielfilm

Jangryesigeui member (Members of the Funeral)

Miao Miao

DIRECTOR Baek Seung-Bin

DIRECTOR Cheng Hsiao-Tse

CAST Lee Ju-Seung, Kim Byul

CAST KO Chia Ye, Sandrine PINNA, FAN Chih Wei

Forum South Korea 2008, 100 Minutes, Korean, English Subtitles 11.2. / 22.00 Delphi Filmpalast 13.2. / 15.00 CineStar 8

12.2. / 20.00 Colosseum 1

14.2. / 13.00 Cubix 7

JANGRYESIGEUI MEMBER successfully balances an existential immediacy with subtle humour. While attending a young high school boy's funeral, a married couple and their teenage daughter reflect upon their own personal relationships to death. Slowly each of their individual connections to the dead boy emerges. Apparently he had been writing a novel entitled “Members of the Funeral”, where the troubled nature of a family is laid bare, triggered by their attendance at a youth's funeral…Seung-Bin Baek's impressively controlled debut feature filters a darkly droll family drama through a prism of literary associations. In Baek Seung-Bin’s Spielfilmdebüt JANGRYESIGEUI MEMBER gelingt der Balanceakt, die Waage zwischen existentieller Dringlichkeit und subtilem Witz zu halten: Auf der Beerdigung eines Jugendlichen reflektieren ein Ehepaar und dessen Tochter ihre ganz persönliche Auseinandersetzung mit dem Tod. Langsam kommt die Verbindung, die jeder der Protagonisten zu dem toten Jungen hatte ans Licht... Offenbar hatte dieser an einem Roman geschrieben, der den Titel MEMBERS OF THE FUNERAL trägt und in dem die Beerdigung eines Jugendlichen für ein Ehepaar und dessen Tochter zum Auslöser für schmerzhafte Enthüllungen wird...

32 feature film / spielfilm

Generation Hong Kong/Taiwan 2008, 83 Minutes, Mandarin, English Subtitles 7.2. / 14.30 Babylon (Mitte)

8.2. / 16.30 CinemaxX 3

10.2. / 09.00 Babylon (Mitte)

MIAO MIAO is the title of the film as well as the female protagonist's name. She is a shy exchange student from Japan. Struggling to adjust to her new life in Taiwan, she eventually gets to know one of her female classmates, Ai. Ai is an extroverted girl, who becomes increasingly enamoured with Miao Miao. Oblivious to Ai’s strong feelings for her, Miao Miao only has eyes for the brooding CD shop owner Chen Fei, a young guy with a secret past. He seems determined to block out the world by taking cover under his headphones, which are more of an accessory as he never actually listens to music. Miao Miao visits him daily in his store, trying to decipher his very enigmatic essence. But only Chen knows the story behind the lost song ´Come Together´ and the associated memories of a childhood friend. When Ai realises Miao Miao is falling in love with Chen, Ai discovers her feelings for her are deeper than she ever expected. “MIAO MIAO is a film about the uncertain yearnings of youth, the beautiful fragments of life´s journey, and the need to love and be loved“, says Director Cheng Hsiao-Tse. MIAO MIAO is Chengs feature film debut. MIAO MIAO ist nicht nur Titel des Films, sondern auch der Name der weiblichen Hauptfigur, einer schüchternen Austauschstudentin aus Japan. Nach einer problematischen Zeit des Anschlusssuchens lernt sie schließlich Ai, ein Mädchen aus ihrer Klasse, näher kennen. Die unbekümmerte und offene Ai ist fasziniert von der neuen Freundin und fühlt sich mit jedem Tag mehr zu ihr hingezogen. Doch Miao Miao scheint diese starken Gefühle nicht zu bemerken. Sie hat bald nur noch Augen für den nachdenklichen CD-Shop-Besitzer Chen Fei, einem geheimnisvollen jungen Mann, der Kontakt mit allem und jedem meidet und deshalb ständig Kopfhörer trägt, ohne jedoch Musik zu hören. Miao Miao aber lässt sich davon nicht abschrecken und besucht ihn täglich in seinem Laden. Sie will das Geheimnis um ihn lüften. Doch nur Chen Fei weiß, was es mit dem Song ´Come Together´ auf sich hat. Es sind die Erinnerungen an seinen Freund... Für Ai ist die ganze Situation nur schwer zu ertragen. Denn als Ai begreift, dass sich Miao Miao in Chen Fei verliebt hat, muss sie sich eingestehen, dass ihre Gefühle für sie doch tiefer sind als angenommen... „MIAO MIAO ist ein Film über die Ungewissheit jugendlicher Sehnsucht, die wunderschönen Fragmente eines Lebens und die Sehnsucht zu lieben und geliebt zu werden“, so Cheng Hsiao-Tse. MIAO MIAO ist Cheng Hsiao-Tse’s Spielfilmdebüt.

Milk

Pedro

DIRECTOR Gus van Sant

DIRECTOR Nick Oceano

CAST Sean Penn, Emile Hirsch, Josh Brolin, Diego Luna, Denis O'Hare, Jeff Koons

CAST Alex Loynaz, Justina Machado, Hale Appleman, DaJuan Johnson

Panorama Celebration Presentation USA 2008, 128 Minutes, English

Panorama USA 2008, 93 Minutes, English, German Subtitles

10.2. / 21.30 Zoo Palast

7.2. / 14.00 International 13.2. / 13.00 CinemaxX 7

Gay Rights Activist. Friend. Lover. Unifier. Politician. Fighter. Icon. Inspiration. Hero. His life changed history, and his courage changed lives. In 1977, Harvey Milk was elected to the San Francisco Board of Supervisors, becoming the first openly gay man to be voted into a major public office in America. His victory was not just a victory for gay rights: he forged coalitions across the political spectrum. From senior citizens to union workers, Harvey Milk transformed the very nature of what it meant to be a fighter for human rights, and before his untimely and violent death in 1978, became a hero to all Americans. Harvey Milk has been the subject of several books and the Academy Awardwinning documentary feature by Rob Epstein, The Times of Harvey Milk (1984); but MILK is the first fictional feature to explore the private aspects of his personal life and career. Academy Award winner Sean Penn stars as Harvey Milk under the direction of Academy Award nominee and TEDDY AWARD winner Gus Van Sant, filmed on location in San Francisco, based on an original screenplay by Dustin Lance Black (who is also nominated for an academy award this year with MILK); produced by Academy Award winners Dan Jinks and Bruce Cohen (American Beauty). Aktivist für die Rechte Homosexueller. Freund. Liebhaber. Vereiniger. Politiker. Kämpfer. Ikone. Inspiration. Held. Sein Leben hat die Geschichte verändert und sein Mut hat Leben verändert. 1977 wurde Harvey Milk zum Stadtrat von San Francisco gewählt. Damit war er der erste bekennende Homosexuelle, der in den Vereinigten Staaten von Amerika ein so wichtiges öffentliches Amt übernahm. Sein Wahlsieg war nicht nur ein Sieg für die Rechte Homosexueller, Milk ermöglichte auch erstmals Koalitionen auf allen politischen Ebenen. Harvey Milk hat den Grundstein dafür gelegt, was es aus heutiger Sicht überhaupt bedeutet, sich für Menschenrechte stark zu machen. Für viele Amerikaner war er bereits ein Held, bevor er 1978 eines gewaltsamen Todes sterben musste. Zum Leben und Wirken von Harvey Milk sind bereits mehrere Bücher und der mit einem Oscar prämierte Dokumentarfilm von Rob Epstein, The Times of Harvey Milk (1984), erschienen. MILK ist der erste Spielfilm, der auch den privaten Aspekten im Leben und Wirken Milks nachgeht. Unter der Regie von „TEDDY“-Preisträger Gus Van Sant übernahm Oscar-Preisträger Sean Penn die Rolle des Harvey Milk. Produziert wurde MILK von den Oscar-Preisträgern Dan Jinks und Bruce Cohen (American Beauty). Gedreht wurde in San Francisco, basierend auf einem Drehbuch von Dustin Lance Black, der für MILK in diesem Jahr ebenfalls für einen Oscar nominiert wurde.

34 feature film / spielfilm

9.2. / 22.30 Colosseum 1

12.2. / 21.30 Zoo Palast

14.2. / 17.00 Cubix 9

PEDRO is based on the true-life story of Pedro Zamora, a Cuban-American who shared his experience living life to the fullest, despite being diagnosed as HIV positive at a young age. When he discovered he was HIV positive, he dedicated the rest of his life to speaking out about his condition to raise awareness in his community; even testifying before the U.S. Congress to argue for more HIV/AIDS educational programs aimed at youth of colour. He gained nationwide attention in 1994 as a cast member of the MTV-Show THE REAL WORLD. When the director of the film saw Pedro on TV the first time: "Like the rest of the country, I was mesmerised by his story. My vision for PEDRO was to tell his story with the same level of passion and honesty that he lived his life, and to carry his message of HIV prevention and tolerance to new generations". Zamora’s time at the REAL WORLD-house brought a face to the AIDS crisis. When Pedro Zamora’s health began to deteriorate in late 1994, it made front page news nationwide in the US, and his death at age 22 provoked a worldwide outpouring of grief. PEDRO basiert auf der wahren Lebensgeschichte des Pedro Zamora, einem Jungen, der in Kuba geboren wird und mit seiner Familie in die USA emigriert. Als Pedro mit 17 Jahren HIV-positiv getestet wird, widmet er den Rest seines Lebens dem Kampf gegen AIDS. Er spricht öffentlich über seine Lebenssituation, trägt dazu bei, ein Bewusstsein für HIV/AIDS in der Community zu schaffen und fordert den US-amerikanischen Kongress auf, mehr HIV-Präventionsprogramme für Jugendliche mit Migrationshintergrund zu etablieren. Doch die Aufmerksamkeit einer breiten Öffentlichkeit erhält er erst im Jahr 1994, durch seine Teilnahme an der MTV-Reality-Show THE REAL WORLD. Auch der Regisseur des Films begegnet Pedro so zum ersten Mal: „Und wie das ganze Land war auch ich wie hypnotisiert von seiner Lebensgeschichte. Ich wollte diese Geschichte mit derselben Leidenschaft und Ehrlichkeit erzählen, mit der er sein Leben gelebt hat. Und seine Botschaft von HIV-Prävention und Toleranz in die neuen Generationen tragen.“ Zamoras Zeit im REAL WORLD-Haus gab der AIDS-Krise plötzlich ein Gesicht. Als sich Pedro Zamoras gesundheitlicher Zustand Ende 1994 verschlechtert, wird das in den gesamten USA zur Titelgeschichte. Und als er mit 22 stirbt, trauert man weltweit.

feature FILM / spielfilm

Rabioso sol, rabioso cielo (Raging Sun, Raging Sky)

Rage

DIRECTOR J. Hernández

DIRECTOR Sally Potter

CAST Javier Oliván, Jorge Becerra, Guillermo Villegas, Giovanna Zacarías

CAST Judi Dench, Jude Law, Dianne Wiest, Steve Buscemi

Panorama Mexico 2009, 191 Minutes, Spanish, English Subtitles

Competition England/USA 2009, 99 Minutes, English, German Subtitles

11.2. / 22.30 CinemaxX 7

12.2. / 17.45 CineStar 3

13.2. / 14.00 International

15.2. / 21.00 CinemaxX 7

RAGING SUN, RAGING SKY is a mythical gay romance depicting love as an ancestral epic, an archetypical ordeal where loss and death are but inevitable stages along the bittersweet odyssee to attaining absolute bliss. It is the story of two men, Kieri and Ryo, whose love transcends time and space. They love in the present continuous of an eternity dictated by the very essence of their raison d'être. But into their mutual devotion enters Tari, a lonely lover that comes between them, sending Kieri on a mystic journey where he encounters defeat, sacrifice, fusion, and resurrection. The film is a reflection on living through the act of loving. Julián Hernández's second feature film, El cielo Dividido (Broken Sky), screened at the Berlinale, in 2006. His first feature film with the longest title ever, MIL NUBES DE PAZ CERCAN ELCIELO, AMOR, JAMÁS ACABARÁS DE SER AMOR, won the TEDDY AWARD at the 53rd Berlinale. Hernández continues to expand the language of narrative cinema with his visually stunning, contemplative, and very personal films. RABIOSO SOL, RABIOSO CIELO ist eine mythische, schwule Romanze, in der Liebe als von den Ahnen bestimmte und seit Urzeiten von Gott auferlegte Prüfung beschrieben wird. Ein Epos, in dem Verlust und Tod unausweichliche Stationen sind, auf einer bittersüssen Odyssee, um zur absoluten Glückseligkeit zu gelangen. RABIOSO SOL, RABIOSO CIELO ist die Geschichte zweier Männer, Kieri und Ryo, deren Liebe Raum und Zeit transzendiert. Deren gegenwärtige Liebe in ihrer Essenz, reduziert auf das Sein, ewig dauern wird. Aber in diese gegenseitige Ergebenheit dringt plötzlich Tari ein und sendet Kieri auf eine mystische Reise, auf der er Niederlagen erlebt, Aufopferung, Verschmelzung und Auferstehung. Der Film versucht, das Leben über den Akt des Liebens zu verstehen und zu begreifen. Julian Hernández's zweiter Spielfilm, EL CIELO DIVIDIDO (Broken Sky), lief ebenfalls im Programm der Berlinale wie auch schon sein Erstling – der Film mit dem wohl längsten Titel der Welt: MIL NUBES DE PAZ CERCAN ELCIELO, AMOR, JAMÁS ACABARÁS DE SER AMOR, der 2003 mit einem TEDDY AWARD als bester Spielfilm geehrt wurde.

8.2. / 22.30 Berlinale Palast

9.2. / 18.00 Friedrichstadtpalast

9.2. / 20.00 Urania

Sally Potter's RAGE is a tragicomedy about the repercussions of globalisation in the information age. Michelangelo, a young blogger, shoots interviews in a New York fashion boutique over a week and publishes them on his website. Hereby he documents a young fashion designers' work, whose family roots are from the Mideast. A bittersweet image of the state of affairs of a crisis ridden industry emerges from the statements from the interviewees – that include Minx (a famous supermodel), Tiny Diamonds (the financier behind the scenes), Anita de Los Angeles (a seamstress), Vijay (the pizza delivery boy), Frank (a war photographer), and Mona Carvell (a critic). Even here globalisation and the stagnating economy also result in aggravated work conditions… But after a model dies on the runway and a murder investigation ensues, Michelangelo's interviews are seen in a whole new light. In Sally Potter's film, a child's unique perspective puts a new spin on the superficiality of this illusory world… Sally Potters RAGE ist eine Tragikomödie über die Auswirkungen der Globalisierung im Informationszeitalter. Sieben Tage lang dreht Michelangelo, ein junger Blogger, in einem New Yorker Modehaus Interviews und veröffentlicht diese auf seiner Website. Auf diese Weise dokumentiert er die Arbeit eines jungen Modedesigners, dessen familiären Wurzeln im Nahen Osten liegen. Aus den Aussagen der Interviewten – darunter Minx (ein berühmtes Supermodel), Tiny Diamonds (der Finanzier im Hintergrund), Anita de Los Angeles (eine Näherin), Vijay (der Pizzabote), Frank (ein Kriegsfotograf) und Mona Carvell (eine Kritikerin) – entsteht die bitter-komische Zustandsbeschreibung einer krisengeschüttelten Branche. Denn auch hier führen Globalisierung und stagnierende Wirtschaft zu verschärften Arbeitsbedingungen… Doch nachdem ein Model auf dem Laufsteg zu Tode gekommen ist und wegen Mordes ermittelt wird, bekommen die von Michelangelo geführten Interviews plötzlich einen ganz anderen Charakter. In Sally Potters Film wird die Oberflächlichkeit dieser Scheinwelt durch den ganz besonderen Blick eines Kindes auf den Kopf gestellt…

23. TEDDY AWARD / www.teddyaward.tv 35

feature FILM / spielfilm

Resident Alien

Rückenwind (Light Gradient)

DIRECTOR Jonathan Nossiter

DIRECTOR Jan Krüger

CAST Quentin Crisp, John Hurt, Holly Woodlawn, Sting

CAST Sebastian Schlecht, Eric Golub, Iris Minich, Denis Alevi

Panorama Celebration Presentation USA 1990, 85 Minutes, English

Panorama Germany 2009, 75 Minutes, German, English Subtitles

12.2. / 20.00 CineStar 7

10.2. / 20.00 CinemaxX 7

15.2. / 17.00 CineStar 7

12.2. / 22.30 Cubix 7

A documentary film about Quentin Crisp, one of the first unabashed homosexuals, born in England in 1908. Crisp flitted around in women's dresses, with dyed hair and painted nails. He kept himself afloat by working as an assistant in theatres, fashion boutiques, hair salons, and by illustrating and writing books. He attained a late success at age 59 due to the acclaimed TV film adaptation of his autobiography THE NAKED CIVIL SERVANT (starring John Hurt). In 1981 Quentin Crisp left what he deemed parochial England for the warmer and more humane shores of New York, to work as a stand-up performer, author, and painter. There he cultivated his colourful lifestyle and lived as a true bon vivant. Considered by most as a “modern Oscar Wilde”, he was an intriguing character full of “androgynous anarchy” (spikemagazine), who never missed a single soirée, both exalting and turning sheer idleness into a high art. “If I have a talent for anything, it is not for doing but for being.” Jonathan Nossiter based his debut documentary on Crisp's diaries, portraying him as the toast of NY social circles filled with artist, actor, and journalist friends. Dokumentation über Quentin Crisp, einen der ersten bekennenden Homosexuellen, geboren 1908 in England. Crisp lief in Frauenkleidern mit gefärbtem Haar und langen Fingernägeln herum, hielt sich mit Aushilfsjobs an Theatern, in Modeboutiquen und Frisiersalons über Wasser, illustrierte und schrieb Bücher, bis er als 59jähriger mit der Verfilmung seiner Autobiografie THE NAKED CIVIL SERVANT (mit John Hurt in der Hauptrolle) zu spätem Erfolg gelangte. 1981 verließ Quentin Crisp das ihm zu enge England, um im menschlich wärmeren New York als Stand-Up Performer, Schriftsteller, Maler und Lebemann seine schillernde Existenz auszuleben und zu veredeln. Für viele war er der „moderne Oscar Wilde“, eine faszinierende Persönlichkeit von „androgyner Anarchie“ (Spike Magazin), die bei keiner wichtigen Party fehlte und das Nichtstun verherrlichte. „Wenn ich für irgendwas ein Talent habe, dann nicht für’s Tun, sondern für’s Reden“. Jonathan Nossiter stützt sich in seinem Erstlingsfilm auf Tagebücher von Quentin Crisp und zeigt ihn umgeben von Künstlerfreunden, Schauspielern und Journalisten.

36 feature film / spielfilm

11.2. / 22.45 CineStar 3

12.2. / 22.30 Cubix 8

Johann and Robin, two young men, on a day-trip to a German province, step by step get lost in the Brandenburg woods. Instead they end up finding each other – their bodies and fantasies. They come across an old farm, where a mother and her adolescent son are living, which becomes their shelter for a while. Surprisingly this small friendly family is quite hospitable in accommodating Johann and Robin. They share both their everyday life and some personal secrets with them. A magical era begins including long conversations, day-trips, flirting, and fooling around. But when their new companionship becomes too intimate, the boys must flee their refuge, only to be spit out into the cruel harsh world. Auf einem Ausflug in die Wälder Brandenburgs gehen zwei junge Männer, Johann und Robin, Schritt für Schritt verloren. Dafür finden sie einander – ihre Körper und ihre Phantasien. Ein alter Hof, bewohnt von einer Mutter und ihrem heranwachsenden Sohn, dient beiden für eine Zeit als Herberge. Hier werden sie überraschend gastfreundlich aufgenommen und beginnen, den Alltag und die Geheimnisse der kleinen Familie zu teilen. Eine magische Zeit zwischen Ausflügen und Erzählungen, Flirts und Spielerei beginnt. Bis sich die neuen Gefährten allzu nahe kommen, und die beiden jungen Männer aus ihrer kleinen Zuflucht wieder in die Welt zurückgeschleudert werden.

Wow, Steve! Hast du gehört: Joe Dallesandro kommt zum TEDDY!

Ja! Und TIMM stiftet den Special TEDDY Award für ihn!

RICK & STEVE

DONNERSTAGS21.15

WIR LIEBEN MÄNNER. UND GUTE FILME.

TEDDY-TV TÄGLICH UND EXKLUSIV BEI TIMM

07.02. - 15.02.09 2X TÄGLICH MITTAGS UND UM MITTERNACHT

TIMM ist der TV-Sender für schwule Männer. Weitere Informationen zum Empfang und zum Programm auf:

www.timm.de

Arsenal 1 + 2

SUN 8.2.

Potsdamer Str.2, 10785

17.30 Arsenal Ai no mukidashi /Love Exposure

Babylon (Mitte)

SAT 7.2.

Rosa-Luxemburg-Str. 30, 10178

14.30 Babylon Miao Miao

Berlinale Palast

SUN 8.2.

Am Marlene-Dietrich-Platz 1, 10785

22.30 Berlinale Palast Rage

CinemaxX

FRI 6.2.

SAT 7.2.

SUN 8.2.

MON 9.2.

Potsdamer Str. 5, 10785

22.00 CinemaxX 3

13.00 CinemaxX 7

16.30 CinemaxX 3

20.00 CinemaxX 7 Fig Trees

Dish (Berlinale Shorts II)

El niño pez /The Fish Child

Miao Miao

20.00 CinemaxX 7

22.00 CinemaxX 3

Ghosted

contre - jour + The Island (Berlinale Shorts III)

CineStar

FRI 6.2.

SAT 7.2.

SUN 8.2.

Potsdamer Str. 4, 10785

14.30 CineStar 7

09.30 CineStar 8

12.00 CineStar 7

14.30 CineStar 7

Queer Sarajevo Festival 2008 + Gevald + City of Borders

Ai no mukidashi /Love Exposure

Das Ende des Schweins ist der Anfang der Wurst /The End of the Pig is the Beginning of the Sausage + Ein Traum in Erdbeerfolie /Comrade Couture

Chan di chummi /Kiss the Moon

20.00 CineStar 7

17.00 CineStar 8

Chan di chummi /Kiss the Moon

Wu Sheng Feng Ling /Soundless Wind Chime (EN)

22.30 CineStar 7 Queer Sarajevo Festival 2008 + Gevald + City of Borders

s, DDY New Daily TE s, Interview more s and Filmclip yaward.tv w w w.tedd

22.30 CineStar 8 Hello, Dolly!

MON 9.2.

17.00 CineStar 7 The Good American

17.45 CineStar 3 Ghosted 20.00 CineStar 7 Tapage nocturne

Colosseum

SAT 7.2.

SUN 8.2.

MON 9.2.

Schönhauser Allee 123, 10437

22.30 Colosseum 1

17.45 Colosseum 1

22.30 Colosseum 1

Fucking Different Tel Aviv

Dish (Berlinale Shorts II)

Pedro

Cosima

SUN 8.2.

Sieglindestr. 10, 12159

18.00 Cosima Berlin – Ecke Bundesplatz „Die Aussteiger“

Cubix

SAT 7.2.

SUN 8.2.

MON 9.2.

Rathausstr. 1, 10178

17.30 Cubix 7

17.00 Cubix 9

Das Ende des Schweins ist der Anfang der Wurst /The End of the Pig is the Beginning of the Sausage + Ein Traum in Erdbeerfolie /Comrade Couture

El niño pez /The Fish Child

22.30 Cubix 7 End Of Love

22.30 Cubix 7

22.30 Cubix 8

Ghosted

22.30 Cubix 7

22.30 Cubix 8

Tanjong Rhu /The Casuarina Cove+ End Of Love

An Englishman In New York

Ghosted

22.30 Cubix 8 An Englishman In New York

Delphi Filmpalast

FRI 6.2.

Kantstr. 12a, 10623

19.00 Delphi Filmpalast Ai no mukidashi /Love Exposure

Friedrichstadtpalast

MON 9.2.

Friedrichsstr. 107, 10117

18.00 Friedrichstadtpalast Rage

International

FRI 6.2.

SAT 7.2.

Karl-Marx-Allee 33, 10178

20.30 International

14.00 International

Ben-Hur

Pedro 17.00 International Tanjong Rhu /The Casuarina Cove+ End Of Love

Martin Gropius Bau

MON 9.2.

Stresemannstr. 110, 10963

22.00 Martin Gropius Bau Seoyang Goldong Yang-gwaja-jeom / Antique

Urania

MON 9.2.

An der Urania 17, 10787

20.00 Urania Rage

Zoo Palast

FRI 6.2.

MON 9.2.

Hardenbergstr. 29a, 10623

21.30 Zoo Palast

19.00 Zoo Palast

El niño pez /The Fish Child

The Countess 21.30 Zoo Palast Der Knochenmann /The Bone Man

TUE 10.2.

WED 11.2.

THU 12.2.

FRI 13.2.

17.45 Arsenal

17.30 Arsenal

12.30 Arsenal

13.00 Arsenal

A Horse Is Not a Metaphor + Still Point + Sanctus + Vital Signs (A Horse is not a Metaphor: Films by Barbara Hammer)

Anamnesis

Wu Sheng Feng Ling /Soundless Wind Chime (EN)

A Horse Is Not a Metaphor + Still Point + Sanctus + Vital Signs

23. TEDDY AWARD

20.00 Arsenal Heosuabideuleui ddang /Land of Scarecrows

TUE 10.2. 09.00 Babylon Miao Miao

TUE 10.2.

WED 11.2.

THU 12.2.

FRI 13.2.

SAT 14.2.

SUN 15.2.

10.00 CinemaxX 7

13.00 CinemaxX 7

10.30 CinemaxX 7

13.00 CinemaxX 7

10.30 CinemaxX 7

21.00 CinemaxX 7

The Countess

Fucking Different Tel Aviv

An Englishman In New York

Pedro

12.30 CinemaxX 7

22.30 CinemaxX 7

12.30 CinemaxX 7

16.00 CinemaxX 6

Tanjong Rhu /The Casuarina Cove+ End Of Love

Rabioso sol, rabioso cielo /Raging Sun, Raging Sky

Der Knochenmann /The Bone Man

Rabioso sol, rabioso cielo /Raging Sun, Raging Sky

Ander

contre - jour + The Island (Berlinale Shorts III)

20.00 CinemaxX 7 Rückenwind /Light Gradient

22.00 CinemaxX 4

22.30 CinemaxX 7

Wu Sheng Feng Ling /Soundless Wind Chime (EN)

20.00 CinemaxX 7

22.00 CinemaxX 3 Dish (Berlinale Shorts II)

Fucking Different Tel Aviv

Strella TUE 10.2.

WED 11.2.

THU 12.2.

FRI 13.2.

SAT 14.2.

SUN 15.2.

12.00 CineStar 8

17.45 CineStar 3

12.30 CineStar 8

15.00 CineStar 8

17.45 CineStar 3

12.00 CineStar 7

Anamnesis

Fig Trees

Jangryesigeui member /Members of the Funeral

Tapage nocturne

20.00 CineStar 7

Heosuabideuleui ddang /Land of Scarecrows

Fucking Different Tel Aviv

14.30 CineStar 7

Little Joe

575 Castro Street + The Times Of Harvey Milk

17.45 CineStar 3

17.00 CineStar 7

14.30 CineStar 7

Rabioso sol, rabioso cielo /Raging Sun, Raging Sky

Queer Sarajevo Festival 2008 + Gevald + City of Borders

575 Castro Street + The Times Of Harvey Milk

20.00 CineStar 7 The Naked Civil Servant 22.45 CineStar 3 Fig Trees

20.15 CineStar 3 Strella 22.30 CineStar 7

17.00 CineStar 7

20.00 CineStar 7

Resident Alien

20.00 CineStar 7

The Good American

The Naked Civil Servant

22.30 CineStar 8

20.15 CineStar 3

The ARD TEDDY AW ny Ceremo

Flying Clipper – Traumreise unter weißen Segeln

ce will take pla th, 13 February us der Ha e th at 9pm at der Welt. Kulturen

22.45 CineStar 3 Rückenwind /Light Gradient

Fig Trees

TUE 10.2.

WED 11.2.

THU 12.2.

SAT 14.2.

SUN 15.2.

15.30 Colosseum 1

22.30 Colosseum 1

15.30 Colosseum 1

Chan di chummi /Kiss the Moon

Das Ende des Schweins ist der Anfang der Wurst /The End of the Pig is the Beginning of the Sausage + Ein Traum in Erdbeerfolie /Comrade Couture

The Good American

Strella

Little Joe

17.45 Colosseum 1 contre - jour + The Island (Berlinale Shorts III) 20.00 Colosseum 1 Jangryesigeui member /Members of the Funeral SAT 14.2. 21.00 Cosima Berlin – Ecke Bundesplatz „Die Aussteiger“

TUE 10.2.

WED 11.2.

THU 12.2.

FRI 13.2.

SAT 14.2.

17.30 Cubix 7

17.00 Cubix 9

14.30 Cubix 9

13.00 Cubix 7

Queer Sarajevo Festival 2008 + Gevald + City of Borders

Der Knochenmann /The Bone Man

Strella

An Englishman In New York

22.30 Cubix 7

17.00 Cubix 9

Jangryesigeui member /Members of the Funeral

Rückenwind /Light Gradient

Ander

22.30 Cubix 8

17.30 Cubix 7

Rückenwind /Light Gradient

Little Joe

SUN 15.2.

17.00 Cubix 9

ARD TEDDY AW ny Ceremo on air

Pedro

15th, February 0pm RBB 11.3

20.00 Cubix 9 Ai no mukidashi /Love Exposure 22.30 Cubix 7 El niño pez /The Fish Child 22.30 Cubix 8 El niño pez /The Fish Child

TUE 10.2.

WED 11.2.

FRI 13.2.

16.30 Delphi Filmpalast

22.00 Delphi Filmpalast

22.30 Delphi Filmpalast

Heosuabideuleui ddang /Land of Scarecrows

Jangryesigeui member /Members of the Funeral

Wu Sheng Feng Ling /Soundless Wind Chime (GER)

TUE 10.2.

WED 11.2.

THU 12.2.

FRI 13.2.

SUN 15.2.

17.00 International

14.00 International

17.00 International

14.00 International

Ein Traum in Erdbeerfolie /Comrade Couture

The Countess

Little Joe

Rabioso sol, rabioso cielo /Raging Sun, Raging Sky

TEDDY Kurzfilmrolle

20.30 International

20.00 International

Lawrence of Arabia

Cleopatra

17.00 International

22.30 International

Ander

Hello, Dolly!

20.00 International Lawrence of Arabia

ARD TEDDY AW ny Ceremo on air 14th, February 0pm ARTE 11.3

TUE 10.2.

WED 11.2.

THU 12.2.

FRI 13.2.

SAT 14.2.

SUN 15.2.

21.30 Zoo Palast

19.00 Zoo Palast

21.30 Zoo Palast

19.00 Zoo Palast

21.30 Zoo Palast

Milk

An Englishman in New York

Pedro

Tanjong Rhu /The Casuarina Cove+ End Of Love

The Countess

Der Knochenmann /The Bone Man

21.30 Zoo Palast Ander

Nicht vergessen: TEDDY-TV 2x täglich mittags und um Mitternacht. Wir sehen uns bei TIMM!

RICK & STEVE

S 21.15 DONNERSTAG

TIMM WÜNSCHT VIEL VERGNÜGEN MIT DEM

TEDDY-PROGRAMM2009

SPECIAL TEDDY AWARD 09 GESTIFTET VON TIMM TIMM ist der TV-Sender für schwule Männer. TIMM ist digital frei empfangbar über Kabel, Satellit und Internet. Weitere Informationen zum Empfang und zum Programm auf:

www.timm.de

feature FILM / spielfilm

Strella

Tapage nocturne

DIRECTOR Panos H. Koutras

DIRECTOR Cathérine Breillat

CAST Mina Orfanou, Yiannis Kokkiasmenos, Minos Theoharis, Betty Vakalidou

CAST Dominique Laffin, Marie-Hélène Breillat, Bertrand Bonvoisin, Joe Dallessandro

Panorama Greece 2009, 113 Minutes, Greek, English Subtitles

Panorama Celebration Presentation France 1979, 94 Minutes, French, English Subtitles

10.2. / 22.30 CinemaxX 7

11.2. / 20.15 CineStar 3

12.2. / 14.30 Cubix 9

14.2. / 22.30 Colosseum

STRELLA, the name of one of the characters in the film, is a play on words, a combination of the female name Stella and the Greek noun Trela (madness, lunacy, or extravagance). George is released from prison after nearly 15 years of incarceration for a murder he committed in his small Greek village. He spends his first night out in a shabby hotel in Athens. There he meets Strella, a young transsexual prostitute. They spend the night together and from then on meet regularly. George attempts to uncover what has happened to his son Leonidas. He hasn't seen him since he was a child. Leonidas witnessed his crime... But George's past soon catches up with him. STRELLA is a completely independent production. The project was denied all grants and was turned down by all governmental institutes and production companies. STRELLA ist nicht nur der Name einer Frau und der Hauptfigur im gleichnamigen Film, sondern auch eine Anspielung auf den griechischen Begriff Trela, der Wahnsinn, Irrsinn, aber auch Extravaganz bedeutet… Nach 15 Jahren wird George aus dem Gefängnis entlassen. Er saß wegen Mordes. Seine erste Nacht in Freiheit verbringt er in einem schäbigen Hotel in Athen. Dort lernt er Strella kennen, eine junge transsexuelle Prostituierte. Sie verbringen die Nacht zusammen und treffen sich von da an regelmäßig. Nachts ist George bei Strella, am Tage sucht er seinen Sohn, den er seit seiner Inhaftierung nicht mehr gesehen hat und der damals den Mord beobachtet hatte. Doch schon bald wird George von seiner Vergangenheit eingeholt... STRELLA wurde ohne öffentliche Gelder oder die Unterstützung einer Produktionsfirma verwirklicht.

9.2. / 20.00 CineStar 7 15.2. / 12.00 CineStar 7

The filmmaker Solange (Dominique Laffin) has a young daughter and a husband with whom she sleeps with from time to time. But that's neither enough for a film nor a life. Solange wants more: she has an affair with Jim, a bisexual actor. But Jim is not the only one. Sometimes she needs two or three affairs even in one single night. It is on her sexual odyssey that she encounters Bruno (Bertrand Bonvoisin), who seems immune to her arts of seduction and whose little humiliations inflame a heated passion within her. Their rendez-vous' follow strict rules. In their role-playing games they are not allowed to mention love verbally, nor may it arise as a feeling. This is how Solange and Bruno (also a film director) succeed in living their dream: night after night they meet as if for the very first time. While exploring the limits of her own desire, the experience makes Solange sexually and emotionally dependent. TAPAGE NOCTURNE (Nocturnal Uproar, 1979) as was Breillats first film, LE SOURPIRAIL (1974) is based on her novel. Die Filmemacherin Solange (Dominique Laffin) hat eine kleine Tochter und einen Ehemann, mit dem sie von Zeit zu Zeit ins Bett geht. Aber das reicht weder für ein Leben noch für einen Film. Solange will mehr: Sie hat eine Affäre mit dem bisexuellen Schauspieler Jim. Aber Jim ist nicht der einzige, manchmal braucht sie zwei oder drei Affären in nur einer einzigen Nacht. Auf solch einer sexuellen Odyssee begegnet sie Bruno (Bertrand Bonvoisin), der ihren Verführungskünsten zu widerstehen scheint und dessen kleine Demütigungen ihre höchste Leidenschaft entfachen. Ihre Treffen verlaufen nach strengen Regeln. Das Rollenspiel verlangt, dass Liebe weder verbal erwähnt noch als Gefühl aufkommen darf. Auf diese Weise können Solange und Bruno, der ebenfalls Regisseur ist, einen Traum leben: Nacht für Nacht begegnen sie sich wie beim allerersten Mal. Auf der Suche nach den Grenzen ihres Begehrens macht Solange die Erfahrung sexueller und emotionaler Abhängigkeit. TAPAGE NOCTURNE (Nächtliche Ruhestörung, 1979) basiert wie schon Breillats Erstling, LE SOURPIRAIL (1974), auf ihrem eigenen Roman.

23. TEDDY AWARD / www.teddyaward.tv 41

feature FILM / spielfilm

the Countess

The Naked Civil Servant

DIRECTOR Julie Delpy

DIRECTOR Jack Gold

CAST Julie Delpy, William Hurt, Daniel Brühl

CAST John Hurt, Liz Gebhardt, Stanley Lebor, Katharine Schofield

Panorama Special Germany/France 2009, 94 Minutes, English 9.2. / 19.00 Zoo Palast

10.2. / 10.00 CinemaxX 7

11.2. / 14.00 International

14.2. / 19.00 Zoo Palast

THE COUNTESS is a historical drama based on the true story of Hungarian Countess Bathory who was born in 1560. At the age of 14, she married a powerful warlord. Although their relationship became cold and distant she gave birth to four children. While he was away fighting wars, she kept up their estate with the help of her confidant, the witch Darvulia, becoming increasingly powerful. She was feared, admired and loathed by many – even the King had to obey her wishes. After her husband died, she met a handsome young man. They fell passionately in love. However, she was anxious that she was not young enough to keep him. For years she waited for his return, and in mad desperation, began to bathe in the blood of virgins, convinced that it would provide her with eternal youth and beauty, setting in motion the chain of bloody and treacherous events that led to her demise. Following 2 DAYS IN PARIS this is Delphy's third directorial and screenwriting effort. Delphy also plays the starring role, the Countess Bathory. THE COUNTESS ist ein historisches Drama. Die Erzählung basiert auf wahren Ereignissen aus dem 16. Jahrhundert: Die ungarische Gräfin Bathory heiratet mit 14 Jahren einen mächtigen Feldherrn. Die gemeinsamen vier Kinder wachsen in einer Beziehung auf, die zunehmend von Kälte und Distanz dominiert wird. Während ihr Mann in den Krieg zieht, pflegt die Gräfin eine vertrauliche Beziehung mit der Hexe Darvulia, mit der sie gemeinsam das eheliche Vermögen verwaltet. Aufgrund ihres unermesslichen Reichtums wird die Gräfin von vielen Menschen gefürchtet, bewundert und auch gehasst. Selbst der König steht in ihrer Schuld und muss sich ihren Anordnungen fügen. Nach dem Tod ihres Mannes lernt sie einen jungen, attraktiven Mann kennen, in den sie sich leidenschaftlich verliebt. Sie ist besessen von der großen Angst, dass sie nicht jung genug sein könnte, ihn zu halten, und während sie jahrelang auf seine Rückkehr wartet, beginnt sie in ihrem verzweifelten Wahn, im Blut von Jungfrauen zu baden. Sie ist davon überzeugt, dass ihr dies ewige Jugend und Schönheit bringt. Die sich daraus entwickelnden blutigen und heimtückischen Ereignisse führen schließlich zu ihrem Untergang. Wie schon in 2 TAGE IN PARIS ist Delpy auch dieses mal wieder Drehbuchautorin, Regisseurin und Hauptdarstellerin in einer Person. Die Gräfin Bathory wird von ihr gespielt.

42 feature film / spielfilm

Panorama CELEBRATION PRESENTATION Great Britain 1975, 78 Minutes, English, German Subtitles 10.2. / 20.00 CineStar 7 15.2. / 20.00 CineStar 7

THE NAKED CIVIL SERVANT is the title of the autobiography by the British eccentric, author, and entertainer Quentin Crisp, that was adapted as a British television movie in 1975. John Hurt, in the role of Quentin Crisp, won Best Actor at the British Academy Television Awards in 1976. The film THE NAKED CIVIL SERVANT turned Quentin Crisp into an overnight success. Today Jack Gold's film is counted among Britain's top 100 television movies of the 20th. century. Quentin Crisp introduces the film claiming “Any film, even the worst one, is at least better than real life.” Already as a child he realised that he was 'different', that he was not sexually attracted to women. His parents struggled to identify what was “wrong with him”, seeking medical advice and, finally, sent him off to art college… Quentin reached a turning point upon meeting a transvestite prostitute. He discovered the joys of make-up and became addicted to exhibitionism. Quentin paraded his homosexuality in an era when most gay life was lived hushed behind closed doors. As a result he suffered both physical and verbal abuse on a regular basis. Not at all adverse to the idea, Quentin began working as a prostitute. Despite his conventional relationship with a ‘straight’ civil servant, trouble ensuedwhen nosy neighbours reported their noisy ‘activities’ overheard through the nearby bedroom window to the police... THE NAKED CIVIL SERVANT heißt die Autobiografie des britischen Exzentrikers, Autors und Entertainers Quentin Crisp, die 1975 für das britische Fernsehen adaptiert wurde. John Hurt, in der Rolle von Quentin Crisp, wurde dafür als Bester Schauspieler 1976 mit dem British Academy Television Award ausgezeichnet. Der Film THE NAKED CIVIL SERVANT machte Quentin Crisp quasi über Nacht berühmt. Heute zählt der Film von Jack Gold zu den besten einhundert britischen Fernsehfilmen des letzten Jahrhunderts. Zu Beginn des Films erklärt Quentin Crisp, dass jeder Film, selbst der schlechteste, am Ende doch besser ist als das Leben: Bereits in seiner Kindheit spürt Quentin, dass er anders ist und sich nicht zu Frauen hingezogen fühlt. Quentins Eltern wollen jedoch nicht wahrhaben, was mit ihrem Sohn nicht stimmt und lassen sich lieber von Ärzten beraten. Schliesslich senden sie ihn auf eine Kunsthochschule… Doch dann trifft Quentin einen Transvestiten, der als Prostituierte arbeitet. Quentin beginnt Make-up für sich zu entdecken, aber auch seine exhibitionistische Ader. Von diesem Moment an, trägt er seine Homosexualität wie einen Orden zur Schau und das zu einer Zeit, in der die meisten schwulen Männer, ihre Homosexualität nur im Geheimen leben… Misshandlungen und Beschimpfungen gehören zu Quentins Leben. Er beginnt als Prostituierte zu arbeiten… Doch als er eine Beziehung mit einem Staatsbeamten hat und Nachbarn sich über die Aktivitäten, die man durch das Schlafzimmerfenster beobachten kann, bei der Polizei beschweren, geht diese gegen die beiden Männer vor…

Wu Sheng Feng Ling (Soundless Wind Chime) DIRECTOR Kit Hung CAST Lu Yulai, Bernhard Bulling Forum Hong Kong/Switzerland 2009, 110 Minutes, Swiss Germ./Engl./Mand./Cant., Engl./Germ. Subtitles 9.2. / 17.00 CineStar 8 (EN)

11.2. / 22.00 CinemaxX 4 (EN)

12.2. / 12.30 Arsenal (EN)

13.2. / 22.30 Delphi Filmpalast (GER)

Pasquale is a young Swiss man who ends up in Hong Kong, making ends meet by juggling in the streets and occasionally pick-pocketing. When he steals Ricky's wallet, a shy Chinese youth and fast food bike delivery boy, their subsequent meeting blossoms into a tentative, almost wordless romance. Employing an associative flashback structure to trace the development of Pasquale and Ricky's burgeoning relationship and its aftermath, Kit Hung's debut feature is a moving exploration of love, memory, and regret. Ein junger Schweizer, den es nach Hongkong verschlagen hat, hält sich als Jongleur und Gelegenheitsdieb über Wasser. Auf diese Weise fällt ihm die Brieftasche von Ricky in die Hände, der als Fahrradkurier für ein Schnellrestaurant arbeitet. Zwischen beiden Männern entspinnt sich eine zarte, nahezu ohne Worte auskommende Romanze, die in dieser Welt voller Kontraste von einer großen Sehnsucht nach Liebe und Ankommen getragen wird. In assoziativen Rückblenden entwirft Regisseur Kit Hung Pasquales und Rickys Geschichte und lässt aus assoziativen Bezügen ein atmosphärisch dichtes Gewebe entstehen. WU SHENG FENG LING ist Kit Hungs Spielfilmdebüt.

s, DDY New Daily TE s, Interview more s and Filmclip yaward.tv w w w.tedd

23. TEDDY AWARD / www.teddyaward.tv 43

Berlin – Ecke Bundesplatz „Die aussteiger"

Chan di chummi (Kiss The Moon)

DIRECTOR Hans Georg Ullrich, Detlef Gumm

DIRECTOR Khalid Gill

Berlinale Special Germany 1986 – 2008, 90 Minutes, German

Panorama Dokumente Germany 2009, 80 Minutes, Punjabi/English, English Subtitles

8.2. / 18.00 Cosima

8.2. / 20.00 CineStar 7

14.2. / 21.00 Cosima

10.2. / 15.30 Colosseum

BERLIN ECKE BUNDESPLATZ – DIE AUSSTEIGER is a unique contemporary document. The two protagonists think they live a more reasonable life than most: Reimar Lenz, a maladroit intellectual, who has used his tiny apartment as a political saloon for the past 22 years, and Hans Ingebrand, an ex-policeman, painter, and masseur. They have been a couple for 37 years, and lifetime partners since 2002. They lead a life bereft of material luxury and social assurances. They have higher aspirations. Their main concerns are international, inter-religious, and intercultural communication. They spend their days picketing, working for freedom, and engaging in political discussion groups. But even these 'drop-outs' aren't getting any younger. They also have to deal with getting older and with facing illness and death. DIE AUSSTEIGER is a portrait of a long-term relationship, set in the context of a Berliner subculture before and after the fall of the Berlin Wall. It is one of the film contributions to the anthology project BERLIN ECKE BUNDESPLATZ project, which also include the following titles: MÜTTER UND TÖCHTER, SCHÖN IST DIE JUGEND..., DIE KÖPCKE BANDE, and DER YILMAZ-CLAN. BERLIN ECKE BUNDESPLATZ – DIE AUSSTEIGER ist ein Zeitdokument der besonderen Art. Wie selbstverständlich nehmen sie für sich in Anspruch, ein richtig vernünftiges Leben zu führen: Reimar Lenz, der unangepasste Intellektuelle, der 22 Jahre lang 14-tägig seine bescheidene Stube in einen politischen Salon verwandelte und Hans Ingebrand, der Ex-Polizist, Maler und Masseur. Seit 37 Jahren ein Paar, seit 2002 Partner auf Lebenszeit, führen sie ein Leben jenseits von materiellem Luxus und bürgerlicher Absicherung. Sie haben höhere Ziele. Internationale, interreligiöse oder interkulturelle Verständigung liegen ihnen am Herzen. Mahnwachen, Friedensarbeit oder Diskutierzirkel bestimmen ihren Alltag. Aber auch die „Aussteiger“ werden nicht jünger, müssen sich mit dem Älterwerden, mit Krankheiten und Tod auseinandersetzen. DIE AUSSTEIGER ist das Portät einer langjährigen Lebensgemeinschaft im Kontext der Berliner Subkultur vor und nach der Wende. DIE AUSSTEIGER ist Teil des aus fünf Filmen bestehenden dokumentarischen Langzeit-Projektes BERLIN ECKE BUNDESPLATZ. Die anderen Titel sind: MÜTTER UND TÖCHTER, SCHÖN IST DIE JUGEND..., DIE KÖPCKE BANDE und DER YILMAZ-CLAN.

44 Documentary film / Dokumentarfilm

9.2. / 14.30 CineStar 7

CHAN DI CHUMMI portrays the life of 'Khusras', members of a closely-knit sub-culture of transsexuals in Pakistan. This is a country defined by a mixture of religious fanaticism, the military, and a rudimentary democratic elite. The strikingly sizeable transgender “Khusra” community is well-versed in the complex and ancient cultural traditions of Pakistani society. Sometimes their relationship to society is harmonious; at other times they are at noticeable odds with one another. CHAN DI CHUMMI is an ardent attempt to forge intimate contact with the “Khusra”-community, to comprehend how it feels to live in a world where life is divided into a rigid binary of either masculine or feminine. The ultimate goal of the film is to cross gender boundaries and to delve into the true essence of being - the desire to love and be loved. Sonya, one of the “Kushras”, explains: “We dream of having a normal home, with all the things that a normal person desires. But this cruel world won't let us live that way. They never let us live in peace”. Her sad words have a resounding effect. CHAN DI CHUMMI porträtiert das Leben von „Khusras“. „Khusras“ sind Transsexuelle, die in Pakistan harmonisch in einer festen Gemeinschaft leben, die in das komplexe Geflecht alter Traditionen eingebettet ist. Aber die Atmosphäre in Pakistan wird derzeit von einer Mischung aus religiösem Fanatismus, dem Militär und einer nur in Ansätzen ausgeprägten Demokratie bestimmt... Der Regisseur, der seit 2003 an diesem Film gearbeitet hat, kommt ganz nah an solch eine „Khusra“-Gemeinschaft heran und versucht auf sehr leidenschaftliche Art und Weise, ein Gefühl dafür zu vermitteln, was es für die 'Khusras' bedeutet, in einer Welt leben zu müssen, die strikt in männlich und weiblich unterteilt ist. Der Film will genau diese Grenzen überschreiten und das Wesentliche finden: zu lieben und geliebt zu werden. „Auch wir träumen von einem normalen Zuhause, mit all den Dingen die sich eine normale Person wünscht. Aber diese grausame Welt lässt uns so nicht so leben. Sie werden uns nie in Frieden leben lassen“, sagt eine der „Khusras“. Ihre traurigen Worte hallen nach.

DOCUMENTARY FILM / DOKUMENTARFILM

City of Borders

Ein Traum in Erdbeerfolie

DIRECTOR Yun Suh

DIRECTOR Marco Wilms

PANORAMA DOKUMENTE USA 2008, 77 Minutes, English/Hebrew/Arabic, English Subtitles

Panorama Dokumente Germany 2009, 83 Minutes, Deutsch, English Subtitles

6.2. / 14.30 CineStar 7 13.2. / 17.00 CineStar 7

7.2. / 22.30 CineStar 7

10.2. / 17.30 Cubix 7

14.2. / 14.30 CineStar 7

7.2. / 17.30 Cubix 7

8.2. / 12.00 CineStar 7

10.2. / 17.00 International

11.2. / 15.30 Colosseum 1

CITY OF BORDERS – that´s Jerusalem. In the heart of Jerusalem – defying generations of segregation, violence, and prejudice – stands an unlikely symbol of tolerance, a gay bar called “Shushan“. Inside this underground sanctuary, people of all nationalities, religious affiliations, and sexual orientations gather under one roof to find acceptance and community among those typically viewed as each other´s “enemy“. This film follows the daily risks and struggles of six Israeli and Palestinian bar regulars (Sa´ar, Boody, Adam, Amit, Ravit, Samira) as they strive for tolerance, dignity, and their right to belong. On the one hand, the film is set in the context of the construction of the “Separation Wall“ between Israel and the Palestinian Territories. And on the other hand, during the fight to hold Pride parade in the Holy City, which in 2006 was moved to a stadium due to security reasons. Each of the protagonists face limitations, disappointments, and contradictions within themselves while attempting to transcend the toughest barriers that divide people. Sa´ar (Shushan owner and city council member): “Jerusalem really is the city of borders. There is a border between East and West, between Jews and Palestinians, between secular and ultra-Orthodox, and between straight and gay“.

STRAWBERRY FOIL DREAMS is a journey through the wild underground world of fashion and so-called “survival artists“ in East Berlin. It was a world of make-believe amidst the restrictive daily life of the GDR. Here you could march to a different beat, be individual, and provocative. The most important distinguishing characteristic of this scene was your own personal style, as this was not for sale in the former East Germany. Subculture space was the place you could reinvent yourself. The film imparts the desires, passions and dreams that were attempted, experienced and contrived in the shadow of the Berlin Wall. Director Marco Wilms, himself a model back then at a GDR fashion institute, revives this unique attitude towards life of economic carefreeness and the radical need to be different in the Here and Now. He catches up with the heros of his East Berlin youth: Sabine, a designer from Oettingen, Robert Paris, a photographer, and Frank Schäfer a stylist and hairdresser and has them recount their glitzy subculture life. After two decades the members and friends of the legendary East Berlin avant-garde fashion theater meet for a reunion of the “Chic Charmant and Dauerhaft” (The chic, charming and eternal) and “Allerleirauh” (All Kinds of Fur) at a 'subversive' East Block party event initiated by director Marco Wilms.

CITY OF BORDERS – das ist Jerusalem. Im Herzen Jerusalems existiert ein einzigartiges Symbol für Toleranz: eine queere Bar namens „Shushan“. Seit Generationen trotzt sie der Spaltung, Gewalt und den Vorurteilen in dieser Stadt. Im „Shushan“ treffen Menschen verschiedener Nationalitäten, Religionen und sexueller Orientierung aufeinander. Hier finden sie Akzeptanz und ein Gemeinschaftsgefühl – und das unter Menschen, die man in Jerusalem normalerweise als verfeindet betrachten würde. Der Film erzählt von sechs israelischen und palästi nensischen Stammgästen (Sa´ar, Boody, Adam, Amit, Ravit, Samira) und deren täglichem Kampf um Toleranz, Würde und Zugehörigkeit. Zum einen werden deren Geschichten filmisch gegen den noch immer anhaltenden Bau der Grenze gesetzt, die das israelische und palästinensische Territorium voneinander trennt, und zum anderen gegen die Gay-Pride in Jersualem, die 2006 aus Sicherheitsgründen in ein Stadion verlegt werden musste. Doch beim Versuch, die Barrieren zwischen den Menschen abzubauen, kommen alle Protagonisten des Films an ihre Grenzen, sind Enttäuschungen und der eigenen Widersprüchlichkeit ausgesetzt. Sa´ar (Shusan-Besitzer und Angehöriger des Stadtrates): „Jerusalem ist tatsächlich die Stadt der Grenzen. Es gibt eine Grenze zwischen Ost und West, Juden und Palästinensern, der weltlichen und der ultra-orthodoxen Seite und zwischen hetero und schwul.“

EIN TRAUM IN ERDBEERFOLIE ist eine Reise in die wilde Parallelwelt der Modeund Überlebenskünstler Ostberlins. Es war eine Phantasiewelt inmitten des restriktiven DDR Alltags. Hier konnte man aus der Reihe tanzen, individuell und provokant sein. Wichtigstes Erkennungsmerkmal der Szene war der persönliche Style, denn den konnte man zu DDR Zeiten nicht kaufen. Man musste sich in der Parallelwelt sein individuelles Image selber basteln. Der Film erzählt von den Sehnsüchten, Leidenschaften und Träumen, die im Schatten der Mauer erprobt, gelebt und inszeniert wurden. Regisseur Marco Wilms, damals selbst Model beim Modeinstitut der DDR, zieht los, um dieses einzigartige Lebensgefühl von ökonomischer Unbeschwertheit und radikalem Anderssein Wollen im Hier und Jetzt wieder entstehen zu lassen. Er sucht die Helden seiner Ostberliner Jugend auf: die Designerin Sabine von Oettingen, den Fotografen Robert Paris und den Stylisten und Friseur Frank Schäfer und erkundet mit ihnen ihr schillerndes Parallelwelt-Leben. Nach zwei Jahrzehnten treffen die Mitglieder und Freunde der legendären Ostberliner Avantgarde-Modetheater „Chic Charmant und Dauerhaft“ und „Allerleirauh“ wieder zusammen auf einer von Regisseur Marco Wilms initiierten, „subversiven“ Ostblockparty.

23. TEDDY AWARD / www.teddyaward.tv 45

DOCUMENTARY FILM / DOKUMENTARFILM

Little Joe

The Good American

DIRECTOR Nicole Haeusser

DIRECTOR Jochen Hick

Panorama Dokumente USA 2009, 90 Minutes, English

PANORAMA DOKUMENTE Germany 2009, 90 Minutes, German/English, German Subtitles

10.2. / 14.30 CineStar 7 13.2. / 17.30 Cubix 7

12.2. / 17.00 International

15.2. / 15.30 Colosseum 1

LITTLE JOE is a deeply personal portrait and the result of an adult daughter exploring her father's 40-year career as a legendary sex symbol with beginnings in the mythic world of Andy Warhol's Factory. Joe Dallesandro embodied the image of the “new man”. He was the heterosexual man everyone wanted to be, not only physically compelling, but also an object of desire coveted by men and women alike. The Valentino of the underground, Joe was the Little Joe of Lou Reed's “Walk On The Wild Side”, the crotch on the Rolling Stones's “Sticky Fingers” album and the only guy at a party willing to return a punch from Normal Mailer. In little more than three years Dallesandro went from an orphaned troublemaker trolling the streets of Queens to international superstardom - and that was just the beginning. The intimate footage filmed on location in Los Angeles and France on DV, Super 8, and 16mm was shot over several years. LITTLE JOE ist ein intimes Porträt einer Tochter über ihren Vater, der mehr als 40 Jahre lang als Sexsymbol Karriere gemacht hat. Joe Dallesandro verkörperte das Format eines neuen Mannes. Er war der heterosexuelle Mann, der nicht nur äußerst attraktiv, sondern auch Projektionsfläche und Sehnsuchtsobjekt von Frauen und Männern war. Seine Karriere begann in der mythischen Welt von Andy Warhols Factory. Joe Dallesandro ist der Little Joe aus dem bekannten Lou Reed-Song „Walk On The Wild Side“ und sein Unterkörper ziert das „Sticky Fingers“-Album der Rolling Stones. In weniger als drei Jahren wurde aus dem unruhestiftenden Waisenkind ein internationaler Superstar. Das stellenweise sehr intime Filmmaterial wurde über einen Zeitraum von mehreren Jahren in Los Angeles und Frankreich auf DV, Super 8mm und 16mm gedreht.

Special ard 2009 TEDDY Aw es go to

who rful actor “A wonde e ange d mal forever ch .” the screen sexuality on aters John W

46 Documentary film / Dokumentarfilm

9.2. / 17.00 CineStar 7

11.2. / 22.30 CineStar 7

12.2. / 15.30 Colosseum 1

THE GOOD AMERICAN portrays Tom Weise, the creator of the Hustlaball (hustler ball). In the 1990s, estranged from his parents, the former political science student leaves Germany for New York. He is HIV positive and can therefore only live an illegal life in the US. According to the law he would not even be allowed to enter the county. After his arrival in New York he has a rough time getting by as an escort. He doesn't earn any money and ends up homeless. Eventually he helps Jeffrey Davis start up an Internet-site rentboy.com, which a decade later becomes the most popular site for escorts. Complications with his health, loneliness, and drug abuse torment Tom increasingly, but finally in 2006 he finds his life partner. Together with his Afro-American partner Keith he decides to return to Berlin and visit Germany for the first time in 15 years. A few days after their arrival the Hustlaball takes place in Berlin. By the end of the film a seemingly self-confident businessman has transformed into a man filled with weaknesses, fears, and dreams. Jochen Hick's new film provides insight into the life of a well-known gay icon and into the world and mindset of escorts. THE GOOD AMERICAN porträtiert Tom Weise, den Schöpfer des Hustlaball. Ohne noch Kontakt zu seinen Eltern zu haben, verlässt der ehemalige Student der Politik-Wissenschaften Anfang der Neunziger-Jahre Deutschland und geht nach New York. Als HIV-Positiver kann er nur illegal in den USA leben. Laut Gesetz dürfte er dieses Land nicht einmal besuchen. In New York angekommen, schlägt sich Tom eher schlecht als recht als Eskort durch. Er verdient kein Geld und wird obdachlos. Schließlich hilft er Jeffrey Davis, die Internet-Seite rentboy.com aufzubauen, die 10 Jahre später die größte Internetseite für Eskort-Service sein wird. Gesundheitliche Komplikationen, Einsamkeit und Drogenexzesse quälen Tom zunehmend, bis er 2006 endlich einen Lebenspartner findet. Er beschließt mit dem Afroamerikaner Keith zusammen nach Berlin zurückzugehen und Deutschland nach 15 Jahren erstmals wieder zu betreten. Wenige Tage danach findet der Berliner Hustlaball statt. Der noch in den ersten Filmminuten sehr selbstsicher wirkende Geschäftsmann gibt schliesslich den Blick frei auf seine Schwächen, Ängste und Träume. Jochen Hicks neuer Film gibt Einblick in das Leben einer bekannten Ikone Schwulenszene, aber auch in die Welt und Denkweise von Eskorts und Partymachern.

1997 - 2009

The Times Of Harvey Milk DIRECTOR Robert Epstein Panorama CELEBRATION PRESENTATION USA 1984, 87 Minutes, English

11.2. / 20.00 CineStar 7 15.2. / 14.30 CineStar 7

Rob Epstein documents the political career of Harvey Milk. Milk grew up in New York of the 1930s where he worked as an officer and stockbroker. In the early 1970s after a phase as a Hippy and participant in the anti-Vietnam War movement he settled in San Francisco. There he opened a photography store on Castro Street and began to fight for gay civil rights. Harvey Milk was convinced that homophobia and racism could be overcome if minorities would form coalitions and if political offices were held by enlightened-minded people. He ran for city council as an openly gay man. In 1977 the residents of San Francisco elected him to the most influential office. He succeeded in 1978 to pass a referendum that lifted an employment ban on homosexual teachers. Harvey Milk along with Mayor Rob Moscone was shot by his colleague and political opponent Dan White. That same night 45,000 people gathered and marched down Castro Street in silence to City Hall. Rob Epstein's powerful and in-depth documentary is based on interviews, TV reportage, eyewitnesses, and archival material; was awarded an Oscar for Best documentary film in 1985. Rob Epstein dokumentiert die politische Karriere von Harvey Milk. Milk wuchs in den 30er Jahren in New York auf, arbeitete als Offizier und als Börsenmakler und ließ sich Anfang der 1970er Jahre nach einer Phase als Hippie und Anti-VietnamDemonstrant in San Francisco nieder. Dort eröffnete er in der Castro-Street ein Fotogeschäft und setzte sich vor allem für die Rechte der Schwulen ein. Harvey Milk war überzeugt davon, dass sich Homophobie und Rassismus überwinden lassen, wenn sich die Minderheiten verbünden und politische Ämter mit aufgeklärten Menschen besetzt werden. So kandidierte er mehrfach als bekennender Schwuler für den Stadtrat und wurde 1977 von den Einwohnern San Franciscos in das einflussreiche Amt gewählt. 1978 gelang es ihm einen Volksentscheid herbeizuführen, der das Berufsverbot von homosexuellen Lehrern aufhob. Harvey Milk wurde, zusammen mit dem Bürgermeister Rob Moscone, von seinem Widersacher und Kollegen Dan White erschossen. Noch in derselben Nacht versammelten sich über 45.000 Menschen in der Castro-Street und marschierten schweigend zum Rathaus. Rob Epsteins eindringlicher Dokumentarfilm basiert auf Interviews, Fernsehreportagen, Zeugenberichten und Archivmaterial und wurde 1985 als bester Dokumentarfilm mit einem Oscar geehrt.

23. TEDDY AWARD / www.teddyaward.tv 47

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short FILM / kurzfilm

A Horse Is Not A Metaphor

575 Castro Street

contre - jour

DIRECTOR Barbara Hammer

DIRECTOR Jenni Olson

DIRECTOR Christoph Girardet and Matthias Müller

FORUM USA 2008, 91 Minutes (trt), English

Panorama vorfilm USA 2008, 7 Minutes, English

Berlinale Shorts III Germany 2009, 11 Minutes, English

10.2. / 17.45 Arsenal

11.2. / 20.00 CineStar 7

8.2. / 22.00 CinemaxX 3

13.2. / 13.00 Arsenal

15.2. / 14.30 CineStar 7

12.2. / 17.45 Colosseum

Filmmaker Barbara Hammer fights ovarian cancer with visions of horseback riding, river swimming, her lover of 20 years, Florrie Burke, and their dog, Spooner in her new experimental film, A HORSE IS NOT A METAPHOR. Hammer says she is a “cancer thriver as well as survivor” in this hopeful and densely layered personal work with music by composer Meredith Monk. Barbara Hammer is known for creating groundbreaking experimental films dealing with women's issues such as gender roles, lesbian relationships, and coping with aging and family. Hammer is responsible for some of the first lesbian-made films in history, including DYKETACTICS (1974) and WOMAN I LOVE (1976). This year the FORUM is screening a tribute to her alongside A HORSE IS NOT A METAPHOR (2008) they will screen three films out of the 80 title of her vast and prolific oeuvre: STILL POINT (1989), SANCTUS (1990), and VITAL SIGNS (1991). Mit ihrem neuen Experimentalfilm A HORSE IS NOT A METAPHOR bekämpft die Filmemacherin Barbara Hammer ihre Krebserkrankung mit Visionen, die sie vom Reiten auf einem Pferderücken hat, vom Schwimmen im Fluss, ihrer Geliebten, die ihr seit 20 Jahren zur Seite steht, und ihres gemeinsamen Hundes. In dieser sehr persönlichen filmischen Arbeit, zu der Meredith Monk die Musik beigesteuert hat, sagt Hammer von sich, sie sei zwar vom Krebs gezeichnet, aber sie wolle leben. Barbara Hammer ist für ihre bahnbrechenden experimentellen Filme bekannt, die sich mit Themen wie Geschlechterrollen, lesbischen Beziehungen auseinandersetzen, aber auch mit Alter und Familie. Hammer ist die Regisseurin der allersten Lesbenfilme überhaupt, dazu gehören DYKETACTICS (1974) und WOMAN I LOVE (1976). Ihr zu Ehren zeigt das Forum im Rahmen von Forum Expanded neben A HORSE IS NOT A METAPHOR (2008) weitere drei ihrer über 80 Filme: STILL POINT (1989), SANCTUS (1990) und VITAL SIGNS (1991).

575 CASTRO STREET begins with the following introduction: “In February 1977, the San Francisco Gay Film Festival was born when a self described 'ragtag bunch of hippie fag filmmakers' got together and projected their Super 8 short films on a bed sheet. Many of these films explored gay themes, but (…) many were simple studies in light and motion. Most of these films passed through Harvey Milk´s Castro Camera Store at 575 Castro St. for processing. In 2008, the Castro Camera Store was recreated at the original location for Gus Van Sant's film MILK. This film was shot on that set”. Jenni Olson's film reveals, through the lens of a static camera, the play of light and shadow on the walls of the Castro Camera Store set, as we hear the original audio-cassette recorded by Harvey Milk in 1977 to be played “in the event of my death by assassination”. 575 CASTRO STREET beginnt mit folgender Einleitung: „Als sich im Februar 1977 ein Haufen selbsternannter ‚schwuler Hippie-Filmemacher‘ zusammenfand, um ihre Super 8 Kurzfilme auf ein Bettlaken zu projizieren, war das San Francisco Gay Film Festival geboren. Viele der Filme beschäftigten sich mit schwulen Themen, andere waren einfache Licht und Bewegungsstudien. Die meisten dieser Filme wurden in Harvey Milks Castro Camera Store in der Castro Street 575 entwickelt. Im Jahr 2008 wurde dann genau an dieser Stelle der Castro Camera Store wieder aufgebaut – für Gus Van Sants Film MILK. Dieser Film entstand hier.“ Zur Original-Stimme des ersten schwulen Stadtrates von San Francisco, Harvey Milk, folgt ein statisches Kameraauge dem Schattenspiel auf den Wänden des nachgebauten „Castro Camera Stores“. Harvey Milk hatte 1977 eine Kassette besprochen: „im Falle meines Todes durch ein Attentat“. Kurze Zeit später wurde Harvey Milk ermordet.

13.2. / 16.00 CinemaxX 6

CONTRE-JOUR: “The look with which we view and comprehend the world and how it is cast back at us in response, breaks up into ‘contre-jour’ (back light), into disquieting fragments. Blurs, flashes, and stroboscope montages disintegrate reality into shadowy images that inflict pain upon the retina. A spotlight precisely cuts the individual out of darkness. ”I wish you could see what I see“ remains a futile hope. Blind spots form a vast gap between self-perception and the perception of others”. (Kristina Tieke) CONTRE-JOUR is, after PLAY and KRISTALL, a further collaboration between artists Christoph Girardet and Matthias Müller utilising the medium of experimental short film. Both live and work in Germany. CONTRE-JOUR: „Der Blick, mit dem wir die Welt erfassen und den sie auf uns zurückwirft, zerfällt in ‚contre-jour‘ (Gegenlicht) in verstörende Fragmente, Unschärfen, Lichtblitze, Stroboskobmontagen zersetzen die Wirklichkeit in schemenhafte Bilder, die auf der Netzhaut schmerzen. Präzise schneidet Scheinwerferlicht das Individuum aus dem Schwarz der Umgebung. „I wish you could see what I see“, bleibt vergebliche Hoffnung. Zwischen Selbst- und Fremdwahrnehmung klaffen blinde Flecken.“ (Kristina Tieke) CONTRE-JOUR ist nach PLAY und KRISTALL eine weitere Zusammenarbeit der Künstler Christoph Girardet und Matthias Müller im Bereich des experimentellen Kurzfilms. Beide leben und arbeiten in Deutschland.

23. TEDDY AWARD / www.teddyaward.tv 49

Das Ende des Schweins...

Dish

DIRECTOR John Edward Heys

DIRECTOR Brian Harris Krinsky

DIRECTOR Netalie Braun

CAST Vorname Nachname

CAST Matthew Monge, Jeffrey Martinez, Octavio Altamirano

PANORAMA VORFILM Israel 2009, 16 Minutes, Hebrew, English Subtitles

Panorama Vorfilm Germany 2008, 22 min, English

Berlinale Shorts II USA 2008, 15 Minutes, English

7.2. / 17.30 Cubix 7

8.2. / 12.00 CineStar 7

11.2. / 15.30 Colosseum 1

DAS ENDE DES SCHWEINS IST DER ANFANG DER WURST. (The End of the Pig is the Beginning of the Sausage.) What a title! But when you enter the world penned by the author of ”Schweine müssen nackt sein: Ein Leben mit dem Tod“ (”Pigs Need to be Naked: Living with Death“) and ”Schwein oder nicht-schwein: Fragen und Antworten zum Leben“ (”To Pig or Not to Pig: Questions and Answers to Life“), you will understand the title. Writer/Director Napoleon Seyfarth lives in Berlin. He is what is called a living legend. He is HIV-positive, a fact that has drastically changed and influenced his life. DAS ENDE DES SCHWEINS IST DER ANFANG DER WURST. Was für ein Filmtitel! Aber wenn man sich auf die Welt des Schriftstellers und Autors der beiden Bücher „Schweine müssen nackt sein: Ein Leben mit dem Tod“ und „Schwein oder nicht-schwein: Fragen und Antworten zum Leben“ einlässt, wird man ihn verstehen: Napoleon Seyfarth lebt in Berlin. Er ist das, was man eine lebende Legende nennt. Er ist selbst HIV-positiv, ein Fakt, der sein Leben stark verändert und beeinflusst hat…

6.2. / 22.00 CinemaxX 3

Gevald 8.2. / 17.45 Colosseum

14.2. / 22.00 CinemaxX 3

DISH observes the conversations of two adolescent Emos, Israel and Louie, in Los Angeles. The main issue is sex with other guys. Louie knows about it from personal experience, but Israel still needs to try. They are constantly exchanging text messages about the subject. While walking around their East Los Angeles neighborhood dishing about their high school classmates they talk about dicks, fucking, the use of condoms and the old cliché of top and bottom sex. After listening to Louie boast about his sexual escapades, Israel decides he has some catching up to do. But whatever happens, no one is allowed to touch his hairdo. DISH folgt den Gesprächen zweier in Los Angeles heranwachsenden Emo-Typen, Israel und Louie. Hauptsächlich geht es dabei um Sex mit anderen Jungs. Louie hat es schon gemacht, Israel noch nicht. Darüber tauschen sich die beiden permanent per SMS aus. Während sie beim Herumlaufen in ihrer Gegend über ihre Klassenkameraden lästern, besprechen sie Schwänze, reden übers Ficken, darüber wie man Kondome benutzt oder über das alte Klischee, wer beim Sex oben oder unten liegt. Nachdem Israel Louies Prahlereien über seine sexuellen Eskapaden angehört hat, möchte er nun endlich wissen, wie sich der Sex mit einem Mann anfühlt. Aber was immer auch passiert: Die Frisur bleibt wie sie ist.

6.2. / 14.30 CineStar 7 13.2. / 17.00 CineStar 7

7.2. / 22.30 CineStar 7

10.2. / 17.30 Cubix 7

14.2. / 14.30 CineStar 7

GEVALD, like the documentary CITY OF BORDERS, tells the story of the ”Shushan“ bar, the only Jerusalem bar that caters to the queer community in the Holy city. The film unravels all within one single night, in November 2006. Tomorrow, an unofficial Pride parade is planned, instead of the larger public event that was cancelled due to violence by religious organizations against the queer community. Tonight a young women attempts to convince her partner not to attend the parade. On stage drag kings and queens perform for their right to march and live. The bar ”Shushan“ closed its doors in 2007. GEVALD erzählt, wie auch schon der Dokumentarfilm CITY OF BORDERS, ein Stück aus der Geschichte der „Shushan“-Bar, die einzige Bar in Jerusalem für Queers. Heute existiert die „Shushan“-Bar nicht mehr, sie wurde 2007 geschlossen. GEVALD konzentriert sich auf eine einzige Nacht im November des Jahres 2006. Am darauffolgenden Tag soll die GayPride in Jerusalem stattfinden, doch die geplante Marschroute wurde gerade abgesagt. Der Grund dafür sind Gewaltausschreitungen und Gewaltandrohungen religiöser Organisationen. In jener Nacht versucht nun eine junge Frau ihre Partnerin davon zu überzeugen, nicht an der Parade teilzunehmen, während zur gleichen Zeit Drag Kings und Drag Queens auftreten, um auf ihre Rechte aufmerksam zu machen.

short FILM / kurzfilm

TANJONG RHU (THE CASUARINA COVE)

the island

DIRECTOR Junfeng Boo

DIRECTOR Trevor Anderson

Panorama Vorfilm Singapore 2008, 19 Minutes, Mandarin/English,

CAST Matthew Monge, Jeffrey Martinez, Octavio Altamirano

English Subtitles

Berlinale Shorts III Canada 2009, 5 Minutes, English

7.2. / 17.00 International

9.2. / 22.30 Cubix 8

8.2. / 22.00 CinemaxX 3

13.2. / 19.00 Zoo Palast

14.2. / 10.30 CinemaxX 7

12.2. / 17.45 Colosseum 1

TANJONG RHU is a fictional account of a true story. Night falls in Singapore. Men walk cautiously through the forest, they are horny and out prowling for sex. Two young men meet at the beach and converse, and just a few frames later one of them confesses his lifestyle under police interrogation. He had fallen into a police schemed trap in the cruising area along the beautiful bay. In September 1993 twelve men were in fact convicted in similar undercover operations where policemen pretended to be gay men. Some of the accused were incarcerated for several months, and their names, age, and profession were published in the leading national newspapers as a police scare tactic. TANJONG RHU ist eine Sammlung fiktiver Geschichten, die auf wahren Ereignissen beruht. Es ist Nacht in Singapur. Männer schleichen vorsichtig durch den Wald, sie sind geil und auf der Suche nach Sex. Zwei junge Männer treffen sich am Strand und unterhalten sich, und nur wenig später sitzt einer der beiden Männer bei der Polizei, die ihn zu seinem Lebensstil verhört. Er war in eine Falle der Polizei getappt, die Männern nachstellt, die in der Cruising Area auf der Suche nach Sex sind. Tatsächlich wurden 1993 zwölf Männer bei solchen Undercover-Einsätzen, bei denen sich häufig ein Polizist als Schwuler ausgibt, überführt. Gegen einige der auf diese Art und Weise festgenommenen Männer wurde Anklage erhoben, sie verschwanden für mehrere Monate im Gefängnis. Zur Abschreckung wurden Namen, Alter und Beruf in den wichtigsten Zeitungen des Landes veröffentlicht.

13.2. / 16.00 CinemaxX 6

THE ISLAND tries to cross the mechanism of homophobia with a big smile. The homosexual filmmaker has received ”fan mail“: Why don´t all the homosexual people leave society and move to an island to infect each other with AIDS. Lost in thought the director wanders through the Canadian snow desert and creates a possible setting for such an island. At ”Hot Docs Canadian International Documentary Film Festival“ in Toronto Trevor Anderson was characterised as an emerging Canadian filmmaker working with passion, humour, a strong sense of social justice and a personal point of view. Ein Film schlägt zurück. In THE ISLAND begegnet ein Regisseur auf ungewöhnlich humorvolle Weise einer homophoben „Fanpost“. „Warum haut Ihr Homosexuellen nicht alle auf eine Insel ab und steckt Euch dort gegenseitig mit AIDS an?“ In seiner filmischen Antwort stapft der Regisseur durch die eisige kanadische Schneewüste und entwirft ein mögliches Szenario dieser Insel. Beim „Hot Docs Canadian International Documentary Film Festival“ in Toronto bescheinigte man dem Regisseur, dass dessen Filme durch Leidenschaft, einen ausgeprägten Sinn für soziale Gerechtigkeit und eine besondere Sichtweise überzeugen.

The first Queer Sarajevo Festival was held on September 24th, 2008. It included exhibitions, performances, public discussions, and films. The opening at the gallery of the Academy of Fine Arts was attacked and left eight people injured, forcing the organisers, a non-governmental organization Organization Q, to close the rest of the festival to the public and to eventually cancel the whole event. ”Kill the Gays“ was written on their signage. People that wanted to participate in the opening were verbally attacked and beaten up. Following the riots the festival organisers announced to the public that the originally 5 day long planned festival would not be able to continue due to the assailments. Das erste Queer Sarajevo Festival begann am 24. September 2008 und dauerte nicht einmal einen Tag. Die Eröffnung in der Akademie der Bildenden Künste wurde von einer Gruppe religiöser Fanatiker attackiert, zurück ließen sie 8 verletzte Festivalteilnehmer. „Tötet die Schwulen“, stand auf ihren Plakaten. Leute, die an der Eröffnung teilnehmen wollten, wurden beschimpft und zusammengeschlagen. Nach den Ausschreitungen teilten die Organisatoren des Festivals der Öffentlichkeit auf einer Pressekonferenz mit, dass das ursprünglich für fünf Tage geplante Festival wegen der Ausschreitungen nicht fortgeführt werden kann.

FORUM EXPANDED in addition to Barbara Hammer-Films

Live Performance CHANGING THE FACE OF FILM: AVAILABLE SPACE AND BENT TIME, reprised from 1979–1983 Sunday Feb. 8th, 18:00 Hamburger Bahnhof – Museum für Gegenwart, Invalidenstr. 50–51 Also on display are her “Film Scrolls” at the Forum expanded exhibition at Filmhaus Potsdamer Str. 2 / Basement Atrium

23. TEDDY AWARD / www.teddyaward.tv 51

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interview With Wieland speck By Diana Näcke

The Light at the End of the Tunnel… Vom Tunnel ins Licht… Wieland, how are you doing right now? I am still in the tunnel. First you have to clear your mind of the blur

Wieland, wie geht es Dir gerade? Noch befinde ich mich im Tunnel. Man muss erst mal die ganzen Filme

of the thousands of films… in fact, 3,459 films were submitted this year.

aus dem Kopf bekommen… tatsächlich sind es 3459 Filme gewesen, die

What it comes down to now are the 50 remaining titles. This is actually the

hier eingereicht wurden. Davon sind jetzt noch 50 übrig und um diese Filme

most exciting stage, because at this point you begin to realise the common

geht es jetzt. Das ist eigentlich der spannendste Moment, weil man erst zu

themes and start to have a feel for what points of focus the programme will

begreifen beginnt, welche Schwerpunkte man im Programm finden wird. Und

reflect. And speaking about it gives me another view of my programme, as

bei solchen Gesprächen lerne ich mein Programm auch noch einmal anders

suddenly I begin to view it from an outside perspective. I have just reached

kennen, weil ich plötzlich beginne, es von außen zu betrachten. Ich stehe ge-

this threshhold. Up until now I had delved deep inside myself, and every-

rade genau an dieser Schwelle: Eben war ich noch ganz ganz tief in mir drin

thing I am doing now is directed towards the outside world.

und all das, was ich jetzt mache, hat nur noch eine Richtung, das Außen.

And what common themes stand out, what points of emphasis

Und welche Tendenzen, Schwerpunkte sind es, die sich in diesem

do you see coming into focus?

Jahr abzeichnen?

One core theme that is just emerging is also strongly present in the

Ein Schwerpunkt, der sich gerade herauskristallisiert, spiegelt sich

LGBT films: We are showing films that enable new views of regions like

auch stark in den schwul-lesbischen Filmen wieder: Wir zeigen Filme, die

Kashmir, Pakistan, Indonesia, and also the Palestinian Territories. In one of

andere Blicke auf Regionen wie Kaschmir, Pakistan, Indonesien, aber auch

the documentaries CROSSING BORDERS, queer youth climb over barbed

die palästinensischen Gebiete freigeben. In einem der Dokumentarfilme,

wire to enter the Jewish side of Jerusalem, to reach a place where they

CROSSING BORDERS, klettern junge Lesben und Schwule durch den Sta-

can just be themselves. The film feels like the story has been reversed,

cheldrahtzaun, um auf die jüdische Seite von Jerusalem an einen Ort zu ge-

akin to a reversal of history. Everywhere we hear about the Palestinians

langen, an dem sie einfach nur sie selbst sein dürfen. Der Film fühlt sich wie

being bullied by the Israelis, and suddenly this film appears. Israel has

eine Umkehrung der Geschichte an. Überall hört man, dass die Palästinenser

reached an impasse, where nothing can budge. You always end up back to

von den Israelis drangsaliert werden und plötzlich gibt es diesen Film. Israel

square one: There is war, people die, peace agreements are signed, and

befindet sich in einer Klammerlage, wo eigentlich nichts mehr geht. Man

then everything starts all over again. But if you consider this from a queer

landet immer wieder in der Sackgasse: Es gibt Krieg, Menschen sterben, ein

23. TEDDY AWARD / www.teddyaward.tv 53

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interview

Friedensvertrag wird geschlossen und dann beginnt alles wieder von vorn. Betrachtest Du das aber aus einer schwullesbischen Sicht, verkehrt sich das Ganze. Wir haben auch einen kurzen Dokumentarfilm aus Bosnien Herzegowina, QUEER SARAJEVO FESTIVAL 2008, im Programm. In Sarajewo ist man mit den schlimmsten faschistischen Methoden gegen dieses Festival vorgegangen. Solche Filme sind wichtig für unser Programm, wie auch der Film über Transgendered in Pakistan, CHAN DI CHUMMI (KISS THE MOON) von Khalid Gill, die in der Gesellschaft normalerweise einen festen Platz haben. Doch durch die Kriegswirren und die ständige Gewaltbereitschaft ist diese Gesellschaft von Entwurzelung bedroht, so dass die alten Traditionen ins Schleudern geraten. Wenn bei uns Traditionen ins Wanken kommen, haben Schwule und Lesben mehr Freiheit zu erwarten. In Pakistan ist das aber in diesem Fall genau umgekehrt. Der ursprünglich angestammte Platz dieser Transgendered wird plötzlich in Frage gestellt. Sie geraten in Schwierigkeiten, an die asoziale Grenze. Weil das, womit sie sich früher ihren Lebensunterhalt verdient haben, plötzlich wegbricht. Normalerweise gelten diese Menschen als Verbindung zu den Göttern, sie leben in einem Orden und tanzen auf Festen, Hochzeiten und auf Begrüßungszeremonien Neugeborener. Und all das ist gerade in Gefahr. Und im bevölkerungsreichsten islamischen Land Indonesien ist man mit einer neuen reaktionären Gesetzgebung konfrontiert. Dort definiert man gerade alles, was irgendwie mit Sexualität zu tun hat, als Pornografie. Das macht es dort nahezu unmöglich, überhaupt ein Queeres Filmfestival zu organisieren, weil es unter das Pornografieverbot fällt. 39 Filme stehen diesmal in einem queeren Kontext, davon laufen allein 27 Filme im Panorama, das in diesem Jahr auf die schönste Art und Weise 30 Jahre Programm feiert: Ihr zeigt in Euren Celebration Presentations ganz besondere Filme, die in der Geschichte des TEDDYs eine wichtige Rolle gespielt haben… Vor 30 Jahren wurde dieses Programm, das damals noch Info-Schau hieß, zum ersten Mal aufgestellt. Nur ein Jahr später lief dort mein erster Film und im darauf folgenden Jahr hat der damalige Leiter Manfred SalzWieland Speck

geber sein Ein-Mann-Team mit mir aufgestockt. Für mich sind das jetzt 28 Jahre… Was ich mochte war, dass Manfreds Augenmerk von Anfang an auch den schwul-lesbischen Filmen galt. Etwas, was damals noch gar nicht öffentlich existent war. Und wir haben daraus tatsächlich etwas gemacht,

perspective everything is spun around. We also have a short documentary

was in der ganzen Welt als Vorbild betrachtet wird und in Sachen queere

from Bosnia and Herzegovina, QUEER SARAJEVO FESTIVAL 2008, in the

Filmaufmerksamkeit wahnsinnig viel angestossen und stabilisiert hat. Wir

programme. In Sarajevo the worst fascist methods were used against this

blicken nun auf Filme zurück, die damals die ersten Konnotationen gesetzt

festival. These types of films are important to our programme, as is the film

haben: THE TIMES OF HARVEY MILK etwa, der Dokumentarfilm von Rob

CHAN DI CHUMMI (KISS THE MOON) by Khalid Gill, about transgender

Epstein, den wir 1985 gezeigt haben und für den Rob kurze Zeit später den

people in Pakistan who normally have a regular standing in society. Yet due

Oscar erhielt. Der erste schwule Oscar sozusagen. Im selben Jahr lief bei uns

to the vicissitudes of war and the constant threat of violence, society is then

auch Gus Van Sants erster Film, MALA NOCHE.

threatened by uprootedness, sending old traditions into a tailspin. When

Damals dachten wir: Wir müssen etwas unternehmen, dass diese Filme

tradition falters here, gays and lesbians can anticipate enhanced freedom.

über die Berlinale hinaus weiterleben. Und genau deswegen haben wir den

Yet in this case in Pakistan, it is the exact opposite. The original traditional-

TEDDY auf die Beine gestellt. Und Gus hat gerade über diesen Harvey Milk

ly-held social space for transgender people is suddenly called into question.

einen Spielfilm gemacht, mit Sean Penn in der Hauptrolle (MILK), den wir

They get into trouble on the margins of society. Because their previous way

neben Epsteins Film als Celebration Presentation zu unserem Geburtstag

of earning a living is suddenly gone. Normally these people are seen as a

eingeladen haben. Rückblickend auf die Jahre können wir zeigen, welche

conduit to the Gods, live in an order and dance at festivals, weddings and

Früchte sich zusammentragen lassen, wenn man mit so etwas wie dem

baby welcoming ceremonies. And all this is endangered. And in Indonesia,

TEDDY durchhält.

the country with the largest Islamic population, they are confronted with a

Das gleiche gilt für eine der größten Feministinnen, Catherine Breillat –

new reactionary legislation. There, anything that has to do with sexuality is

eine Frau, die in ihren Filmen schon sehr früh andere Frauen- und Männerbil-

instantly defined as pornography. This makes it nearly impossible to organ-

der zitiert hat, bis hin zu Skandalen, so dass die heterosexuelle Männerwelt

ise a queer film festival there, as it falls under the ban on pornography.

von diesem neuen Blick wirklich brüskiert war. Aber nichts war notwendiger

23. TEDDY AWARD / www.teddyaward.tv 55

lesbisch-schwuler Förderkreis Berlin

This year 39 films with a queer context are in the Festival, 27 of them will screen in Panorama, this is the greatest way to celebrate 30 years of programming: In Celebration Presentations you are showing exceptional films that played a key role in the history of the TEDDY… 30 years ago this programme ran for the first time; it was then called

10 Jahre Förderung des

“Info-Schau” (Info-Show). And just a year later my first film screened there, and the following year, the then director Manfred Salzgeber doubled his one-man-team by hiring me. I have been doing this 28 years now…What I liked was that right from the start Manfred turned his attention to including gay and lesbian films, too. Back then this was non-existent to the public. And we in fact made something out of it that became a world-wide role model, advancing and stabilising queer film visibility. Now we can look back at films that were true trailblazers: for example, we showed THE TIMES OF HARVEY MILK, the documentary by Rob Epstein, in 1985; Rob won an Oscar for it shortly thereafter. This was the first gay Oscar so to say. That same year we screened Gus Van Sant's debut, MALA NOCHE. At the time we thought: We have to take steps to ensure the life of these films beyond

durch elledorado!

the Berlinale. And for this very reason we created the TEDDY. And Gus just made a fiction film about Harvey Milk (MILK) starring Sean Penn that we, alongside Epstein's film, invited to our anniversary Celebration Presentation. Looking back over the years we can show what gems we have presented, how abundantly fruitful it has been to persevere with the TEDDY. The same applies to one of the greatest feminists, Catherine Breillat – a woman, who

Wir sind stolz, den TEDDY AWARD ƐĞŝƚ ϭϬ :ĂŚƌĞŶ ŬŽŶƟ ŶƵŝĞƌůŝĐŚ ǌƵ ƵŶƚĞƌƐƚƺƚǌĞŶ͘ ŝŶĞ sŝĞůǌĂŚů ǀŽŶ ^ƉĞŶĚĞƌŝŶŶĞŶ ƵŶĚ ^ƉĞŶĚĞƌŶ ƵŶĚ ƵŶƐĞƌĞ DŝƚŐůŝĞĚĞƌ ĞƌŵƂŐůŝĐŚĞŶ ĚŝĞƐ͘

very early on in her films depicted alternative images of women and men, causing outright scandals, and heterosexual men were truly rebuffed by her new perspective. But nothing was more crucial than this new viewpoint. In her new film BARBE BLEUE (BLUE BEARD), she relates this legend in her own compelling way of this peculiar male character Knight Bluebeard, the virgin slayer. In 1980 her then second feature TAPAGE NOCTURNE ran in the Panorama programme. Joe Dallesandro also appears in this film. He embodied a brand new type of man that actually defined his whole career.

ĂƐ WƌĞŝƐŐĞůĚ Ĩƺƌ ĚĞŶ ďĞƐƚĞŶ ƋƵĞĞƌĞŶ ŽŬƵŵĞŶƚĂƌĮ ůŵ ϮϬϬϵ ƐƟ Ō ĞŶ

He is the heterosexual man, who is not only extraordinarily attractive, but who puts himself out there as both an object of desire coveted by women and men alike, and as a person onto whom people could project their dreams. Back then only women were supposed to do such a thing. This is why Dallesandro was Andy Warhol's favourite. Warhol loved to challenge values, to deconstruct them and to give them great prominence. Basically he did the same thing with Dallesandro that he did with the tomato soup cans. And now Dallesandro's daughter has a documentary about her father (LITTLE JOE) running in Panorama. Joe Dallesandro contributed to this by challenging the public's perception of the very values that allegedly define a man. That is why he is being honoured this year with a Special TEDDY…

tŝƌ ďĞĚĂŶŬĞŶ ƵŶƐ ďĞŝ ĂůůĞŶ hŶƚĞƌƐƚƺƚǌĞƌŶ͊

It's crazy how people like him or Helmut Berger, who received a Special TEDDY just two years ago, suddenly disappear off the face of the earth. And today – although they were both muses for some of the greatest names in the film and art world – they more or less can no longer live off of their success… This clearly demonstrates that the world, did not, of course, come apart at the seems. Heterosexual men still retain the dominant power. Even if a lot has changed, the underlying principles have endured. And men who attack the heterosexual concept of power should not fare well. You can easily deduce this by these two prime examples. In this context, I feel wary about what is currently happening in world politics. Suddenly we have completely new people in leading positions: an African American President, a gay Mayor, and a female Chancellor. Previously this would have been inconceiv-

elledorado.de

interview

als dieser neue Blick. In ihrem neuen Film, BARBE BLEUE, erzählt sie auf eine hochinteressante, ihr eigene Art und Weise die Legende dieser merkwürdigen Männerfigur, des Jungfrauenschlächters Ritter Blaubart. 1980 lief ihr damals zweiter Film TAPAGE NOCTURNE im Panorama-Programm. In diesem Film spielt auch Joe Dallesandro. Er verkörperte das Format eines neuen Mannes, was eigentlich seine ganze Karriere ausmachte. Er ist der heterosexuelle Mann, der nicht nur äußerst attraktiv ist, sondern sich auch als Projektionsfläche und Sehnsuchtsobjekt zur Verfügung stellt. Damals sollten so etwas nur Frauen tun. Deshalb war Dallesandro ein Liebling Andy Warhols. Warhol liebte es, Werte auf den Kopf zu stellen, sie aufzubrechen und groß herauszustellen. Im Prinzip hat er es mit Dallesandro genauso gemacht wie mit der Tomatendose. Und jetzt ist Dallesandros Tochter mit einen Dokumentarfilm über ihren Vater im Panoramaprogramm vertreten (LITTLE JOE). Joe Dallesandro hat dazu beigetragen, Werte, die einen Mann angeblich ausmachen, in der öffentlichen Wahrnehmung auf den Kopf zu stellen. Deshalb wird er in diesem Jahr mit einem Special TEDDY geehrt… Verrückt, dass Menschen wie er oder auch Helmut Berger, der ja vor zwei Jahren den Special TEDDY erhielt, plötzlich komplett von der Bildfläche

“To be creative, you always have to be very radical, too. In a way you have to separate yourself from everyone, reach into your core, then you can truly delve into yourself and birth something what no one else would ever have dared to create.”

verschwinden. Und heute – obwohl die beiden ja die Musen von den ganz Großen in Kunst und Film waren – mehr oder weniger gar nicht mehr von ihrem Erfolg leben können… Das zeigt eindeutig, dass die Welt natürlich nicht aus den Fugen geraten ist. Noch immer hat der heterosexuelle Mann die Macht. Auch wenn sich viel geändert hat, das Grundprinzip ist geblieben. Und Männern, die das Machtprinzip des heterosexuellen Mannes angreifen, soll es nicht gut ergehen. Genau an diesen beiden Beispielen lässt sich das sehr schlau analysieren. In diesem Zusammenhang macht es mich auch misstrauisch, was gerade weltweit in der Politik passiert. Plötzlich haben wir ganz andere Leute in Führungspositionen: ein farbiger Präsident, ein schwuler Bürgermeister, eine Frau als Kanzlerin. Vorher wäre das undenkbar gewesen. Wo sind denn plötzlich die, die vorher nichts aus der Hand gegeben haben? Man hat den Eindruck, dass sie sich hinter den Kulissen die Taschen mit dem Geld vollstopfen, das sie durch die weltweite Privatisierung von öffentlichen Geldern für sich freigeschaufelt haben… Das fehlende Geld macht die Politik natürlich wesentlich machtloser und deshalb kommen dann diese kürzlich noch marginalisierten Figuren in führende Positionen. Womit wir den zweiten Schwerpunkt unseres Programms benannt hätten, der im Film der beiden anarchischen Globalisierungskritiker THE YES MAN und in THE SHOCK DOCTRINE von Michael Winterbottom und Mat Whitecross widerhallt. Das sind Themen, die die Welt verändern, und hier müssen wir immere ganz

„Um kreativ zu sein, muss man auch immer sehr radikal sein. Du musst Dich auf eine Art von allen anderen abspalten, in den Kern gehen, dann kannst du auch ganz bei Dir bleiben und etwas ausspucken, was sich sonst keiner getraut hätte.“

besonders alert sein, so etwas aufzuspüren. Denn wenn man das verpennt, kann das bedeuten, dass man Menschenrechte, die man sich erarbeitet hat, auch wieder ganz schnell verlieren kann. Sich abspalten, radikal sein, bringt am Ende weniger, als wenn man Dinge zusammendenkt, sich zusammen stark macht… das trifft ja auch auf das Queer Cinema zu… Nicht wenn es den kreativen Prozess betrifft. Das hat immer zwei Seiten. Um kreativ zu sein, muss man auch immer sehr radikal sein. Du musst Dich auf eine Art von allen anderen abspalten, in den Kern gehen, dann kannst du auch ganz bei Dir bleiben und etwas ausspucken, was sich sonst keiner getraut hätte. Und dann gehst Du mit allen anderen zusammen los, hebst diese Stärke hervor und kannst so auch politisch Einfluss nehmen. Ich denke tatsächlich, dass beides sehr sehr wichtig ist, um etwas zu verändern. Das ist auch der Grund, warum uns bei einigen der Filmemacher eine gewisse

23. TEDDY AWARD / www.teddyaward.tv 57

able. So where are those people now who did not want to give up anything?

Kontinuität wichtig ist. Manchmal haben wir sie einige Jahre in Folge im Pro-

It seems as if behind the scenes they are stuffing their coffers with money

gramm. Das betrifft gerade queere Filmemacher oder Regisseurinnen ganz

that they managed to pull in through the world-wide privatisation of public

allgemein, weil es für die besonders kompliziert ist, Kontinuität in ihrer Arbeit

funds… This lack of funds naturally weakens politics substantially, result-

zu bewahren. Sonst würden diese Leute aufgrund der äußeren Widerstände

ing in these previously marginalised characters landing leading positions.

nach eins, zwei Filmen einfach ganz schnell wieder verschwinden.

Which is the second emphasis of this year's programme: it resounds in the film of the two anarchist globalisation critics The Yes Man and in The

Tilda Swinton – auch da besteht diese Kontinuität… 1986 war sie das erste

Shock Doctrine by Michael Winterbottom and Mat Whitecross. These

Mal auf der Berlinale, im Wettbewerb mit Derek Jarmans Caravaggio;

are issues that can change the world. And we must be particularly vigilant to

1988 und 2008 erhielt sie den Special TEDDY. Und 2009 ist sie Jury-Präsi-

take notice of these matters. Because if we miss a beat here, it could mean

dentin des Berlinale-Wettbewerbs. Du bist quasi mit ihr gewachsen, ihr habt

quickly losing hard earned human rights.

Euch ein langes Stück des Weges begleitet…

In the end, separating yourself and being radical achieves less than joining

Person ist: mit ungeheurem Talent, einem unglaublichen Verständnis für die

forces and finding common strength… this applies to Queer Cinema, too…

Dinge und einer ganz besonderen eigenen Sichtweise. Deshalb wollten wir

Wir haben damals sehr schnell begriffen, dass das eine ungeheure

Not when it comes to the creative process. There are always two sides

sie schon 1988 in der Internationalen Jury des Wettbewerbs haben. In ihrer

to this. To be creative, you always have to be very radical, too. In a way you

Eigenschaft als Jurymitglied ist sie damals, übrigens zusammen mit Moritz

have to separate yourself from everyone, reach into your core, then you can

de Hadeln, vor den Zoopalast gezogen, weil dort die große Demonstration ge-

truly delve into yourself and birth something what no one else would ever

gen das neue antischwule Gesetz Clause 28 stattfand, mit dem die britische

have dared to create. And then you can collaborate with others, underscor-

Regierung unter Frau Thatcher schwule Kultur verfolgte. Dort hat sie zu den

ing these strengths, and in so doing take political action. I think in fact that

Demonstranten gesprochen und ihnen ihre Unterstützung zugesichert. Und

both things are of equal importance to effect change. This is the reason why

nur wegen ihr gibt es diesen Special TEDDY überhaupt: für die Leistung und

we value continuity with some filmmakers. Sometimes we show their work

das Engagement einer besonderen Person.

in our programme several years in a row. This applies especially to queer filmmakers or women directors in general, as it is especially complicated for them to maintain continuity in their work. Otherwise these people would quickly disappear after one or two films due to external resistence. Tilda Swinton – she is an example of that very continuity…she came to the Berlinale for the first time in 1986, with Derek Jarman's film Caravaggio in the Competition section; in 1988 and 2008 she received the Special TEDDY. And in 2009 she is the Jury President of the Berlinale Competition. You basically grew alongside her, you accompanied each other over the years…

Wieland Speck

Back then we realised very quickly what a tremendous person she is and how extraordinarily talented she is, with an incredible comprehension for things with a unique and very special point of view. That is why we wanted to have her serve on the International Jury for the Competition section as early as 1988. As a jury member back then, she took part in a huge demonstration against the new British anti-gay law Clause 28 outside the Zoopalast cinema – alongside Moritz de Hadeln, by the way. The British government under Ms.Thatcher was using Clause 28 to persecute gay culture. There she spoke to the demonstrators and assured them her support. And only thanks to her does the Special TEDDY award exist at all: to honour an exceptional person's achievement and commitment.

(born in 1952)

is currently and has been the director of the Panorama section of the Berlin International Film Festival since 1992. His work as a filmmaker, author, and publisher focuses on the men's movement and homosexual identity. Additionally he acted in several films by acclaimed directors, such as David Hemmings, Robert van Ackeren, Ulrike Ottinger, and Ian Pringle. For many years he was the managing director of the Tali, an independent art house cinema in Berlin-Kreuzberg. As a film director Wieland Speck began his career with the medium of documentary. From 1979–1981 he studied film at the San Francisco Art Institute. He is the director, author, and producer of numerous television and film productions. He worked for several film institutions and events, including the Filmhaus Berlin, the Filmbüro Baden-Württemberg, and the Berlin European Short Film Festival. He has also taught at universities and film institutes. Since 1982 Wieland Speck has worked for the Panorama section of the Berlin International Film Festival. From 1982–1992 he was the assistant to the former director of the section, Manfred Salzgeber, responsible for artistic and organizational matters.

ARD TEDDY AW ny Ceremo air on , ARTE Feb. 14th , RBB Feb. 15th m 11.30p

Diana Näcke

(born in 1974)

is a German journalist and filmmaker residing in Berlin. Currently she is shooting her first feature-length documentary film. She returns to the TEDDY AWARDs as a freelance author for the third year in a row.

58 interview

100% Mann. 0% Mainstream. Deutschlands schwules Monatsmagazin.

www.box-online.de

! h c i l X n h ö O w e g B alles, außer BOX dankt

für das Bild

Last Year’s Winners

One year after receiving the TEDDY AWARD…

Best Short Film 2008

Best Documentary Film 2008

TÁ by Felipe Sholl

Football under Cover by David Assmann and Ayat Najafi

TÁ was my first attempt at directing. So you can

To receive an important award so early in one's

As frequent Berlinale goers, we were familiar

imagine how surprised and overjoyed I was to

career is a great incentive, but it is also kind of

with the TEDDY AWARDs, yet as our film does

find out it had been selected. And even more

scary. One of the more immediate consequences

not deal explicitly with a queer topic, being

so when it was awarded the TEDDY for best

was that the film was accepted by many festivals

nominated came as a surprise to us. However

short film. There is a very expressive photo of

and sold to a few territories – which made it

we were aware of the implicit queer content of

the screenwriter, and myself taken at the exact

possible for me to finally pay the crew. TÁ was

Football Under Cover, and were pleased to

moment when they announced it, with our jaws

originally a no-budget film, and every one had

see our audience perceive this layer of our story.

literally dropped. Now it’s one year later and a

worked for free. But it's a much bigger picture

Winning the TEDDY for Best Documentary and

lot has happened since. I just received the news

than that. The TEDDY not only encouraged me

the Volkswagen Audience Award was not only the

that I'm returning to the Berlinale, for the Talent

to make more films, and to take larger steps,

beginning of a wonderful journey with our film,

Campus, and that The Other End, which –

like directing a feature film, which is something I

it is thanks to the TEDDY that we received inter-

hopefully – will be my first feature film, has been

want to do without rushing into it, and hopefully

national recognition overall. Many international

selected for the Talent Project Market. So it is as

direct more shorts along the way. It also made

festivals programmed our film due to the TEDDY,

if I'm reliving it all over again.

my work visible to a broader audience, which has

and we are most grateful for this opportunity to

been a major boost to my career. And that's the

present the film worldwide in diverse contexts.

When I returned home, I was amazed by all the

scary part. There is a lot of responsibility that

This project began as a multi-cultural dialogue

positive reactions we received for the award.

comes with the award. I just hope I can live up

among filmmakers, and we were able to extend it

Even the mainstream media broadly covered

to it!

to different cultures, and to receive a variety of reactions from different points of view.

the TEDDY, highlighting that a Brazilian was conferred the award – following The Elite

Finally, the whole experience of going to the

Squad's Golden Bear. We are known as a

Berlinale and everything surrounding the TEDDY

Ayat Najafi

generally liberal nation, yet macho culture is still

also had a very personal effect on me. I had the

David Assmann

widespread here, which made me worried that

opportunity to meet people who made an indel-

the reception would not be very enthusiastic.

ible impression… And Berlin, of course. It was

But I was wrong. From friends and family to

my first time there, and I fell in love with the city

Jornal Nacional, the most viewed news show in

right away. I have a feeling Berlin will continue

the country, people were supportive and proud.

to play an important role in my life. I hope this

Which, if nothing else, means things are chang-

comes true.

ing fast for LGBT culture in Brazil. Felipe Scholl

For “a sharp and funny look at a brief encounter between two boys.”

Felipe Scholl (l.) and screenwriter Rafael Lessa (r.)

60 Last Year's Winners

“This year’s documentaries overwhelmingly won the hearts of the TEDDY Jury by approaching challenging and thought – provoking subjects in an accessible and effective manner. The most cinematic and gripping of them all subtly and humorously tackles gender-roles in sports in Islamic society.”

David Assmann (l.) and Ayat Najafi (r.)

Last Year's Winners

Best Feature Film 2008

TEDDY Jury Award 2008

The Amazing Truth about Queen Raquela by Olaf de Fleur

Be Like Others by Tanaz Eshaghian

In the world we live in awards are a form of currency. It is of course silly to

Last year when BE LIKE OTHERS received the TEDDY, I was not expect-

compete in the arts, the angels might say. My attempts to fund THE AMAZ-

ing it. I had actually planned to leave Berlin the day before, but was having

ING TRUTH ABOUT QUEEN RAQUELA met with a lot of roadblocks. When

such a good time at the Berlinale that I decided to stay a few extra days.

submitting it to festivals there seemed to be no road. Completely broken

I went to the TEDDY AWARDs expecting a few light appetizers and came

down, after not finding any outside passionate response to the project, the

home with a bronze bear. It was thrilling. Winning the TEDDY made me

Panorama section of Berlinale picked me up. This whole experience made

feel like all my efforts, my decision to make film, to go back to Iran after

me realize something. It is actually “ok” when you are trying to finance, sell

26 years, to put the best team together that I could, were being rewarded.

or submit your film to a festival to be rejected. It’s a healthy break down

So much of documentary filmmaking is about taking a stab in the dark, as

process for any filmmaker. For we so often become deluded with ourselves,

there is no script, no assurance that you will have a great story, and the

our egos, our projects, thinking that we are the centre of the universe. I call

ultimate anxiety that after all the work is done – no one will understand

this a break-down-to-build-up syndrome. Therefore, when we were blessed

what you are trying to say. During the filmmaking process, you have to have

with the TEDDY, it came with profound appreciation. Especially sending out

faith and go with whatever you find interesting while shooting. Receiving an

the mass email the day after the ceremony to all those that never believed

award, like the TEDDY, makes you look back at the making of the film, and

in the film and to those that did all along. It forces you to complete your

feel proud that you took that stab in the dark and managed to accomplish

first semester in film school psychology, teaching you that bitterness should

what you had hoped to achieve.

be limited and best applied to love relationships, and not to your films. The film received distribution, went to many festivals, won more awards, and

The TEDDY AWARD drew overwhelming attention to the film, which made

broke even, all thanks to the TEDDY – and it was the first time any of my

it possible for a much broader audience to see it and to discover a sub-

films did so. However, this felt secondary to the lesson of having to stand

culture in Iran that few even know exists. The film looks at young Iranians

alone with your creation. Walking with your friend Mr. Doubt is healthy,

who undergo sex change operations and explores why they decide to do so.

learning to dispose of him after some time is necessary, otherwise Mr. Doubt

While filming, I wondered if anyone would really care about the stories of

will take over and leave you alone in the dark.

these young Iranian men. Would there be an audience for this? The TEDDY changed all that. Getting this award made it clear that people are concerned

Everything I have written here so far also has no meaning. I will tell you

with what is happening to people all over the world.

the truth now. It meant so much for me to receive the TEDDY that when it came to visit my home, and remained on one of my book shelves, it gave

The ceremony itself was also the most fun I had at the Berlinale. I hope it

me confidence, that all the weird ideas I have in my head are perhaps not

remains as unique and extravagant over the years to come, and continues to

so weird after all. I can write something down and from the corner of my eye

reward important films that capture humanity all over the globe.

the cute TEDDY bear will nod and say “It’s okay Olaf, write it down, it’s not Tanaz Eshaghian

that silly, go on, I’m curious…“. This will either result in a decent next film, or in something quite pretentious and disastrous. In any case, the TEDDY will be waiting for me every time I enter the door. For “its ability to address race, gender and poverty in an entertaining way, while also playing with audiences expectations of form.”

Olaf de Fleur (l.) and the main character

Olaf de Fleur Johannesson

For “an uncompromising and moving portrayal of the shocking reality faced by queer Iranians.”

Tanaz Eshaghian

23. TEDDY AWARD / www.teddyaward.tv 61

In the Beginning… There was Quentin Crisp!

Street; travel articles for The New York Times;

flamboyantly eccentric – coming-of-age memoir

observations on manners and society in the Ad-

The Naked Civil Servant. The award-winning

vocate; and party-going advice in Out magazine.

1975 film version of The Naked Civil Ser vant, starring John Hurt, made him an instant

Quentin Crisp was born as Denis Pratt on Christ-

international celebrity. Mr. Crisp wrote numerous

mas Day in 1908 to middle-class parents in a

books and articles about his life and his opinions

suburb of London. He worked as a commercial

on style, fashion, and the movies. Beginning

artist and an art-school model for thirty-five years.

with the 1938 work Color in Display, Mr. Crisp’s

In 1931 he came-out on the streets of London

literary output has taken several forms, including

wearing makeup and attired in a flamboyant

the autobiographical writings The Naked Civil

fashion, outwardly signaling to the world his

Servant, How to Become a Virgin, and Resident

homosexuality. “From the dawn of my history

Alien; film commentary published in Christopher

I was so disfigured by the characteristics of a

Jean Harvey

by Phillip Ward

Quentin Crisp is the author of the classic – and

62 in the beginning

In the beginning

“People are my only past-time. As long as there are people who are willing to talk to me and be talked back to, I'm happy.”

Often hailed as the 20th-century Oscar Wilde,

“Books are for writing. Do not read any more books. Everybody can write one little book, and it should be about himself.”

ticisms. He was Mr. Wilde's perfect descendant!

“Wishing not to seem ungracious, and to do anything that was free, I accept any kind offer.” “I have always lived my life in the profession of being.”

Quentin Crisp was famous for his aphoristic witWith his calculated caustic words, open homosexuality and wittily provocative attitude toward any kind of conventionality, Crisp caused a bit of a stir in conservative England during the 1950s and 1960s, and even on through the 1970s. “I became not merely a self-confessed homosexual but a self-evident one. That is to say, I put my

certain kind of homosexual person that, when

case not only before the people who knew me but

I grew up, I realized that I could not ignore my

also before strangers. This was not difficult to do.

predicament. The way in which I chose to deal

I wore make up at a time when even on women

with it would now be called existentialist. Perhaps

eye shadow was sinful. Many a young girl in those

Jean-Paul Sartre would be kind enough to say

days had to leave home and go on the streets

that I exercised the last vestiges of my free will by

simply in order to wear nail varnish”.

swimming with the tide – but faster. In the time of which I am writing I was merely thought of as

While watching The Naked Civil Servant in

brazening it out”.

1975, never did I realize or even imagine the significance or importance Quentin Crisp would be

In 1981, Quentin Crisp moved to New York City,

in my life. Never! My mother and a few siblings

bringing along his familiar and witty remarks and

were gathered about the living room watching

his eccentricity. He charmed everyone and be-

television. Bored with game shows, Mother stood

came “the face of a modern rebel”. Mr. Crisp was

and moved toward the television set to turn the

one of the world’s most cherished satirists and

dial. She stopped at the local public television

commentators. His flippancy, self-deprecation

station where a movie had just begun. It was

and theatricality masked a fervent intelligence

The Naked Civil Servant, and ‘the’ Quentin

and a sharp eye for the detail of contempo-

Crisp was introducing the movie with teacup in

rary life. And throughout his near twenty-year

hand addressing the viewers. Mother left the dial

tenure in Manhattan, Mr. Crisp wrote a variety

on that station and returned to the sofa to watch

of books, reviews, appeared in several movies

the movie.

and delighted us publicly and privately with his inimitable grace, wit and genius. “As the years

My stomach wrenched in fear that others in the

went by, it did not get lighter but I became ac-

room would see the delight in my eyes while

customed to the dark. Consequently, I was able

watching this man’s life unfold on the screen. It

to move with a little more of that freedom which

was as though he was addressing me directly. It

T.S. Eliot says is a different kind of pain from

was a directive to be one’s self at all cost without

prison. These crippling disadvantages gave my

apology. “Be” was the answer to life’s adven-

life an interest that it would otherwise never have

ture. Meanwhile my family were all laughing

had. To survive at all was an adventure; to reach

and offering bigoted jokes and anti-homosexual

old age was a miracle. In one respect it was a

commentary. Little did they know that they were

blessing. In an expanding universe, time is on the

also directing the same sentiments toward me.

side of the outcast.”

Mother never switched the channel, though, and we watched the movie to the very end.

Mr. Crisp received rave reviews and garnered hordes of fans with his portrayals of Queen Eliza-

That night while lying in bed and staring at the

beth in Sally Potter’s Orlando; Lady Bracknell

floral-printed wallpaper and darkened ceiling in

in Evan Thompson’s production of The Impor-

firelight, I pondered what it all meant, the movie

tance of Being Earnest by Oscar Wilde at

and this gentle man’s life. How did it relate to

the Mercer Street Theater in 1982; Lord Alfred

me? I was nothing like him. His effeminacy was

Douglas in Eric Bentley’s Lord Alfred’s Lover;

not my character, but the fear of being disco

and his inimitable self in his acclaimed one-man

vered and harassed was my constant concern.

show, AN EVENING WITH QUENTIN CRISP. He

Emotions stirred within and goaded me read his

performed his one-man show to acclaim in theat-

autobiography. I needed to learn more about

ers around the world, all the while spreading his

homosexuality, because homosexual was what I

unique philosophy: “Never keep up with the Jone-

was. I needed to understand it all, and Quentin

ses; drag them down to your level. It's cheaper”.

Crisp was my introduction.

23. TEDDY AWARD / www.teddyaward.tv 63

In the beginning

After college in 1979, I moved to Manhattan, where I have lived these past

Quentin’s tour of England had been unexpectedly canceled by a directive

thirty years. In February 1986, I met the “live and in person” Quentin Crisp,

not his own. Fury raged inside him, but Quentin kept an outward calm

and I was overwhelmed by his generosity of spirit and kindness – and his

repose. I quieted his worry by assuring him that I had nothing to do with the

honesty of heart. And despite his spoken adversity toward love and being

situation and that I supported any wish he desired. Quentin immediately set

loved, Quentin exuded unconditional love to those he trusted and believed

the tour back in motion and began to focus on his November trip to Man-

in. Because of this and over the years that followed, I enjoyed an intimate

chester. He made a decision to go, knowing well that his health might fail

and close friendship with Quentin Crisp, and one which I cherish daily.

him along the way there. I reminded Quentin that there would be significant stress on his already weak heart during the two air-pressured flights. He was

During the last two years of his life, Quentin and I worked on the manuscript

pleased and felt it might be a “significant death”. He was happy to be going

of his last book, THE DUSTY ANSWERS (as I have said before). It was re-

and did not care where he died, whether it be in England or in New York.

corded on audiotape in his room on East Third Street and at my apartment

“In my present condition, I look forward to being extinct.”

on Christopher Street. Regularly, I would visit him, bringing him food and supplies, and always delivering his mail from the lobby’s counter where the

The night before his departure, Quentin joined Charles Barron and me for

postman deposited mail for the whole building. We would begin our sessions

dinner at Haveli, an Indian restaurant on Second Avenue and only a few

with conversation about our day, and Quentin would open his mail while

blocks north from Cooper Square Diner. He had Tandoori chicken for dinner,

quickly deciding which ones required his reply. We shared sandwiches and

sipped scotch and water, ate dessert and drank coffee while continuing our

pastries and drank “kinky” water (seltzer). Sometimes Quentin would boil

on-going conversation about his life and its coming end. But earlier in the

potatoes for dinner and we would eat from the pot, while sipping scotch and

evening at his apartment, he seemed agitated for some reason. I suspected

enjoying fantastic conversation.

Quentin was not taking the heart medicine I had delivered to him a couple days earlier. He felt why take them, especially if they were to prolong his life

Quentin would either sit on the side of the bed or stretch out on it, resting

when he only wanted to die.

comfortably as though he were visiting a psychiatrist’s couch. And always with a smile, he would say, “Where shall we begin?” Quentin was bringing

Charles and I walked Quentin back to 46 East Third Street. I sensed it was

closure to his life and wanted to have the last word on it. In July 1999,

our last walk together, with him holding onto my arm while slowly walking

Quentin finished the “official” recordings for The Dusty Answers, however

down Second Avenue. I escorted him inside, and we quickly spoke before

we continued recording our sessions together. These moments became

hugging one another farewell. I kissed Quentin on his cheek and said, “Have

more an ongoing conversation, or an assessment of the full picture of which

a safe trip, sweetheart. Hurry back home! I love you, Quentin.” And he said,

was his life. As a friend and editor of The Dusty Answers, I was provided

“Thank you. You are very kind. And I love you too. Goodbye.” I stood at

an overwhelming sense of respect and responsibility, a period of focus and

the bottom of the stairs and watched him climb the first flight huffing and

concentration, and an enormous thank-you to Quentin for allowing me to be

puffing, with his right hand grasping the railing to help pull himself up the

part of his life.

stairs. I remained in the lobby listening to him continue to his floor. His grunts and sighs still sing inside my head remembering him that night.

Quentin’s health began to decline in the winter of 1998–99, while performing on 42nd Street at The Intar Theatre under the direction of John Glines.

Intuitively, I felt this was the last time I would see Quentin. He was not

This was Mr. Crisp’s last run in New York City of his one-man show, AN

coming back alive. A deep pang struck my heart and sorrow enveloped me.

EVENING WITH QUENTIN CRISP. It opened on his 90th birthday and

Charles and I were silent on our way home. We sensed the same sadness,

closed on January 31, 1999. During this time, Quentin became ill and

the same truth. I called Quentin the following morning wishing him well and

probably had pneumonia, but most definitely the flu. Still, he struggled

much success with the tour, and to hurry back home safely. He was eager

getting to the theatre on time by taking a bus up Third Avenue and then

to leave, especially knowing what the flights might do to his heart. Quentin

across 42nd Street to the theatre, despite a taxi allowance given him by the

embraced the moment! His life was in order, with all corners tidied and the

producer. “Money is for saving, not for spending”. Quentin never missed a

discarded in the trash heap. He was ready to die, and off to England he

performance, despite his ill health.

went.

Nearing the end of July, Quentin began tidying up his room, creating a small

From THE DUSTY ANSWERS, Quentin writes, “I have kept my optimism

path for one to go from here to there. It was unlike him to clean any part or

going so far by coming to America. But now my optimism is dwindling and I

rearrange anything in his room, yet he wanted to prepare his room for the

long for death, which most people would consider was pessimistic, though

people who would “visit it after I am gone”. By summer’s end, Quentin’s

I do not think so. I shall like being dead. At least I shall enjoy dying. When

room met his approval and he was happy that we had arranged the closet

I’m dead, of course, I shall have no opinions about anything. I'm not afraid of

so that all his legal documents and estate papers would be easily found. He

dying. So, a heart attack would do fine. That would be dying in style”.

had great concern about such matters, especially his Last Will and Testament. Quentin wanted all his affairs in order and that is what we had done.

64 in the beginning

Quentin’s first evening in England became his last. He and travel partner Chip Snell arrived in Manchester safely and enjoyed an evening with his hostess before heading off to his room for sleep. The next morning, Chip found Quentin lying on his bed with nitro pills clutched in his hand. He died in style by having a heart attack during the night. He died alone, which was one of his greatest desires. Quentin provided us, the world at large, gay and straight, a simple philosophy of happiness and being. He was an atheist, yet his Buddhistic and existentialistic instructions offer an insight into the man he was while providing an insight into who and what we are to ourselves and to others. I encourage everyone to read Quentin Crisp’s works and to hear his recordings. His philosophy will have an impact on you, whether you invite it or not. Since first viewing the movie in 1975, I have embraced the wit and wisdom of Quentin Crisp. He became a mentor and a friend from whom I learned how to “Be” and I am a better human for having done so. There is no more fear of being myself, because in the beginning there was Quentin Crisp! And now, with the new biopic, An Englishman in New York, written by Brian Fillis and starring John Hurt, we begin a year of centennial celebrations honoring Quentin Crisp. His final book, The Dusty Answers (as I have said before), will be published for the very first time. His purple fedora is on display at Victoria and Albert Museum through May! And, this November 21st, we commemorate the 10th anniversary of Mr. Crisp’s death. All this makes for a great year to celebrate the life and legend of Quentin Crisp – and what a great beginning!

Phillip Ward

(born in 1956)

was Quentin Crisp's personal assistant, dresser, typist, escort, and traveling companion during the 1980s, up until Mr. Crisp's death. Ward is a writer, poet, artist, and photographer residing in New York. His writings and photographs have appeared in a variety of print and electronic magazines, journals, books, and exhibitions. Mr. Ward is the coeditor of the literary journal Van Gogh's Ear, a joint publication of Allen Ginsberg's New York Committee on Poetry and the French Connection Press. Ward is an archivist and curator of the Quentin Crisp Archives (crisperanto.org).

Related Films An Englishman in New York by Gus Van Sant / Panorama / 7.2. / 22.30 Cubix 7 7.2. / 22.30 Cubix 8 11.2. / 19.00 Zoo Palast 12.2. / 10.30 CinemaxX 7 13.2. / 14.30 Cubix 9 Resident Alien by Jonathan Nossiter / Sektion / 12.2. / 20.00 CineStar 7 15.2. / 17.00 CineStar 7 The Naked Civil Servant by Jack Gold / Panorama Celebration Presentation 10.2. / 20.00 CineStar 7 15.2. / 20.00 CineStar 7

tma

KATHARINA FRANCK

TEDDY TOPIC

Offen für neue Impulse war Katharina Franck schon immer. Bereits

UNAIDS – Homophobie, Menschenrechte und AIDS

die lange Geschichte ihrer Band Rainbirds zeigt spannende stilistische

Mit Michel Sidibé, UNAIDS Executive Director

Wendungen. Mit "On The Verge Of An Autobiography" veröffentlicht Deutschlands prägnanteste Popstimme jetzt ihr persönlichstes Album. Und noch nie kamen ihr Talent für interessante Melodien und intel-

TEDDY awards

ligente Texte, ihre Präsenz und vielfältige Erfahrung mit so direkter

Siegessäule Readers Award

Wucht zum Ausdruck. Bei der TEDDY AWARD Ceremony wird Katharina

1500 Euro, gestiftet vom Jackwerth Verlag

Franck einen Titel aus ihrer neuen CD präsentieren.

TEDDY für den besten Kurzfilm 3000 Euro Preisgeld, gestiftet von den Mäzenen

BASE BERLIN „ARTistik made in germany“ Beim TEDDY 2008 präsentierte sich die Kultwerkstatt Base Berlin zum ersten Mal dem internationalen Publikum. Seitdem überschlugen sich die Ereignisse. Ihre Show „Made in Germany“ tourte 6 Monate quer durch die Republik. Gastspiele in Edinburgh, Dubai, Indien

des TEDDY e.V. TEDDY für den besten Dokumentarfilm 3000 Euro Preisgeld, gestiftet von elledorado e.V. TEDDY für den besten Spielfilm 3000 Euro Preisgeld, gestiftet von Pro-Fun Media und TEDDY e.V.

folgten. Einige der „Basianer“ zeigten ihr Können in der Jamie Oliver

Special TEDDY 2009 an

Show, in der Show Orangerie Deluxe, the BOX, im Chamäleon Theater

Warhol Superstar Joe Dallesandro

und im Wintergarten Berlin.

mit Unterstützung von TIMM.

Die Presse verglich Base Berlin mit Andy Warhols Factory in New York. Das ist mit Sicherheit zu hoch gegriffen, aber wenn man einen kreativen Ort sucht in dem Tänzer, Körperkünstler, Fotografen und Schauspieler sich treffen und einen ganz eigenen internationalen Showstil kreieren, wird man automatisch BASE Berlin finden.

23. TEDDY AWARD on TV 14.02.2009, 23:30 Uhr, arte 15.02.2009, 23:30 Uhr, rbb

In diesem Jahr präsentiert Base: Eike von Stuckenbrok, den Shooting Star der Berliner Artisten Szene. Er hat einen ganz eigenen Stil und eine faszinierende Darbietung entwickelt. Dem erst 19jährigen ausgebildeten Artisten ist die Varietéwelt schon zu klein geworden. Modefotografen und Filmregisseure sind auf ihn aufmerksam geworden. Er

Barbara Busackino, Tandem Otter Productions

wird von Breakdancern unterstützt, unter ihnen Abie Marte.

From Bathrooms to Broadway... An interview with Joey Arias by Diana Näcke What does cinema mean to you? Cinema to me is Art, Motion, and Story. I try

Every time I walk on stage I think of the people that pioneered the way. I'm still here and there is

to see as much as possible. I love this media very

a reason for that. In my career I have done more

much. It's like reading a book. But don't confuse

than Klaus ever did.... it's so crazy. But in reality

them...

he did what he was supposed to do and nothing more. Klaus' stamina was not very strong. He

Cinema for me is a way of escaping reality to get

could only sing 5 – 6 songs without getting tired...

closer to reality. But what do you think reality

he told me he was a weak child. He was fragile...

actually is, Joey?

growing up in damp rooms where moss was grow-

Reality is what I see and what my brain translates to me. Every one has their own reality

ing on the walls and mushrooms... now that's cold. Hence the “Cold Song”.

and we must respect that. But it should still work within a community. You can’t just walk down the

In the film “The Nomi Song” you surprisingly do

street and shoot someone... What I sometimes see

not appear... Klaus never would have been Klaus

are other dimensions, lights, and souls. It can be

Nomi without his artist-friends, including you...

confusing sometimes.

Why did you decide not to give an interview about Klaus?

…while being on stage? Being on stage is like walking out of a space ship and meeting the human race...

Klaus and I were one. And the director Andy Horn refused to see this. I respect that he made this film but it's not really Klaus. I had refused to be in this because I didn't want my words to be

As Klaus Nomi once said: I might as well look as

manipulated as well as for some private reasons.

alien as possible because it reinforces a point I

I will be working with Mike Ryan, Annette, and

am making....

some Germans to do a film about Klaus and I. It

(finishing the sentence) ...my whole thing

will be a movie about our friendship. I met with

is that I approach everything as an absolute

Alan Cumming, who would love to play Klaus. I

outsider... Nothing is sacred to me. Who is making

think he would be great because he has the same

the rules anyhow?

feeling in his eyes and a similar soul too. I would love Johnny Depp to play me. I think he would go

Klaus Nomi played a decisive role in your

there, because as an actor, he has that fire for the

life... You did s o many things since he died...

different.

Sometimes it feels like you are still following that When you push the boundaries and redefine

What was your childhood like? When I was a child I used to play make-believe.

yourself, you find the alien light in you, as Klaus

Sure I had board games and some toys... but

and I did...I feel that the alien part of myself has

no action dolls, my mother knew I would put

found the body of a woman. So I explore that

dresses on or do something different to them.

part. Imagine that entity from another planetary

My parents were concerned that I wasn't such a

scenario coming to earth and it has to find a host.

sport hero type, and instead into transforming my

Well that's what I've done... I think... (laughs) and

surroundings and myself. Do I have stories. Lets

that woman is a beautiful creature because she is

do a book... (laughs) My parents loved music,

earth and life.

especially my mother. I woke up everyday to the radio and at night the home stereo pumped out

When we met last year you said: “I wonder what

Hank Williams, the Beatles, and Billie Holiday. My

Klaus Nomi would do today if he were still alive.”

home was very musical... we all sang. I loved going

That touched my heart. Because if someone

to church and singing in Latin mass. At one point I

like him dies, people tend to dedicate respon-

thought I was a nun – there goes my reality.

sibility to the dead, making them untouchable somehow...

68 interview

Barbara Busackino, Tandem Otter Productions

tradition.

interview

When did you and others recognise that beautiful voice of yours? As far as singing and people saying what a

Yes everything started coming together. The

a way to come back home and have New York City

downtown art scene with Keith Herring, Kenny

embrace you. I was in the middle of that dream

Scharf, Basquiat, Schnabel, Nomi... We played

everyday. Everyone always ask when are we gonna

beautiful voice... it was never like that when I was

and wanted to have fun. My involvement with

do a new show? And currently we are working on a

younger. People liked what I did and it wasn't so

Klaus was strictly friendship. But I found myself

new show called “The Golden City”.

unusual …not yet!

helping Klaus develop a show and bringing people to see what I was doing with Klaus. David Bowie

Joey, I heard you once say: “Whatever you are,

comfortable showing off this gift that I had kept

got wind of this and hooked up with Klaus, and the

you're beautiful!” What is it that makes you get

secret... My split octaves and the Billie Holiday

rest is history.

up in the morning and keeps you going?

How did you end up in Las Vegas?

that I can do the simple things in life... like make

It wasn't until I was in London that I became

haunting style of Jazz singing. When I returned to the states... well to New York City... I went to a

Everyday when I wake up I am always happy

function where I started channeling Billie. Andy

The Vegas gig came from my dear friend

Warhol freaked and many other people freaked

Andrew Watson... Long story short: He was a

and just go for a walk. A lot of people forget that

out and said this was my new voice. I think I found

performer, a trapeze artist, and many years later

many people can't do this. It's like when you get

it ...but I'm never happy. I always try to discover

he was the creative director of new shows. He

sick and you wish you were better. Well think

and redefine my voice and my singing styles.

called me and said he wanted Thierry Mugler and

about it. It's all very simple really. All the perks

myself in a new production. It was going to be an

come after that. If you’re not in love with yourself

erotic cabaret. It took a while before I agreed... I

for just being alive and smiling at someone, then

As far as Billie goes... I thank my Mom for

wasn't sold on being in Vegas, but as you see... it

you have a problem. I always look at nature for my

turning me onto her. When I was very young I

all worked out – and what a great gig. There were

clues... Nature never worries it just is. Just happy

heard that voice and I always wanted to have that

many people that didn't believe I would last long

to be alive and in harmony... Now sing that... Love

same texture and delivery. As I listened and talked

with my sordid past... I am a real party-girl and

you all... See you in the bathroom…

to people who knew her... it sounded like they

infamous for taking my sexcapades to any bath-

were talking about me (laughs). I think we lived

room...(laughs). I'll always be part of the Cirque Du

parallel lives. No one can deliver a song like Lady...

Soleil family.

What is it about you and Billie Holiday?

my coffee, talk on the phone, talk to you like this,

I hear her singing in my ear and I feel like she's guiding me. Remember there was only one Billie

Your shows today like “Arias with a Twist” capti-

and now there's one Joey Arias...

vate audiences, the same way great films do in cinema... Shows like this and the collaboration

... that's why you started singing in a Rock band? As far as Rock groups I sang with, it was really my youth pushing me to be radical and political.

with Basil Twist credited you turning drag into high art. Well, working with Basil Twist is just an amaz-

You know kid stuff. You think you’re gonna change

ing honour. Basil is a puppet master and loves

the world.

theatre, which includes film and light. I had always been a big fan of watching him work with Sherry

Just like later on, when you landed a job at

Vine's Theatre Couture shows. Sherry introduced

Fiorucci's, the Italian fashion label?

us and I also knew Basil's boyfriend at the time –

Fiorucci was a great stage for me... I always felt

Bobby Miller. I would go and see Basil's shows

I was doing performance art when I went to work...

and get blown away, and I would imagine myself in

I loved looking at people looking for the new...

his productions. As you see 14 years later... “Arias

clothes, ideas, and friendship. I met many people

with a Twist”. It was towards the end of January

there... it was a very important part of my life and

2008, right after I returned home from Cirque that

New York City. There will never be a store like that

Basil approached me and asked if I would like to

again. But there could be something different. For

work with him on a new show opening in June,

instance in Berlin... I love going to Claudia Skoda's

and I jumped at the opportunity. It's a fantasy-

store because she is art. It's a small store, but I love

journey where I'm abducted and then released to

hanging out in the world she has created.

find my way back home... I don't want to say too

Joey Arias' long and diverse career has changed the way people look at drag performance. Truly avant-garde, he bridged the worlds of pop music, art, and fashion decades before such things were the norm. He came to New York City in the mid-70's – an extremist even back then – known for his hard-edged beauty and genderplay, he quickly became a fixture at the Fiorucci boutique. Soon after, he began performing in clubs, most notably with Klaus Nomi and later joined both David Bowie and Iggy Pop on world stages. In the late 80's, Joey Arias began “channeling” his idol Billie Holiday on stage, in a chilling vocal impersonation that has been seen on countless stages over the years. Most recently he co-created and starred in the critically acclaimed and popularly adored show “Arias with a Twist”. Previously Arias enjoyed a wildly successful run as the emcee “Mistress of Seduction” in the Las Vegas Cirque Du Soleil production Zumanity. Arias has performed at internationally celebrated venues such as Carnegie Hall, The Freedom Theatre in London and on a transatlantic world tour of the cabaret clubs of Paris, Tokyo, Germany, Canada, and England.

Live Performance February 13th, 9pm, at the Haus der Kulturen der Welt, as well as afterwards at a special midnight show with Squezzebox.

much because I think it's coming to Berlin in the Then everything came together – being on stage

Spring time. So you will see for yourself what this

with Klaus Nomi: amazing music, amazing

does to you and what you get out of it. And usually

costumes, and even becoming an inspiration for

most people walk out of it feeling inspired and

Andy Warhol and David Bowie...

dreamy. I did that every night for 7 months... what

Diana Näcke (born in 1974) is a German journalist and filmmaker residing in Berlin. Currently she is shooting her first feature-length documentary film. She returns to the Teddy Awards as a freelance author for the third year in a row.

23. TEDDY AWARD / www.teddyaward.tv 69

Global HIV facts

2008 Report on the global AIDS epidemic, UNAIDS

33 million people living with HIV 3 million new infections

Dein SchwuZ im Februar

2 million deaths because of AIDS-related illnesses

3 million people on antiretroviral treatment

Mi. 04.02. DÆNZGEDØNS Fasching in Neukölln Mi. 04.02. DÆNZGEDØNS

22 Uhr | Die Bad Taste-Party im SchwuZ | Karneval in Neukölln die Reinhardts || Edith Schröder || das_Ponymädchen || Gina Tonic

Fr. 06.02. London Calling

23 Uhr | Indie || Rock || Elektro Calixo || Vanessa || Drew || Desolation Disko King || Giorgio Marode

Sa. 07.02. bump!

23 Uhr | das Retro Studio ChrizzT || U-Seven || D.Light || mikki_p || Gast: DJ für immer d.i.s.c.o.! || Schlagerpraline mit Modeopfer & Open Stage („Be Bump!“)

Di. 10.02. Fucking Meschugge

23 Uhr | Berlinale-Premierenparty für „Fucking Different Tel Aviv“ Aviv-without-the-Tel || Tal Orlev || Matityahu und sein Zwillingsbruder || inkl. Palestinian Lounge

Fr. 13.02. Peaches & Cream

23 Uhr | Queer HipHop || R‘n‘B || presented by PaScha Twizzstar || Pa$cha || Caramel Mafia || Kenny Dee || Fotzy Braun || Lovejones

Sa. 14.02. Proxi Club

23 Uhr | Electronics & Pop Drama Nui || Kook || Il.Hammer || Kenny Dee || Daniel Wang || Massimiliano Pagliara || Wolfgang Tillmans

Fr. 20.02. Search & Destroy

23 Uhr | Queer Noises || Alternative || Punk || Wave trust.the.girl || DJs Are Rockstars || Special A || Ragnar || Rummelsnuff || Hanno Hinkelbein || Live-Act: Platzblanche

Sa. 21.02. repeat

23 Uhr | Dein LieblingsSchwuZ · 70‘s - 00‘s || LÄNDER-LOUNGE: Schweden Modeopfer || U-Seven || Cheddar || ChrizzT || Katja Gustafsson || Mumintroll || Rövarson

Sa. 21.02. repeat mit Länderlounge Schweden So. 22.02. AHA-Soli-Party

20 Uhr | Kreuzberger Tunten retten erneut die Welt! Gitti & Roswitha Reinhardt || Kaey || Modeopfer || Frau Dr. No || Liesbeth Prölls || Donna 90210 || Gaby Tupper || Beulah Bounty || Catherine || Samantha de Boeuf

Fr. 27.02. L-Tunes

22.15 Uhr | Megadyke‘s lesbische Party dj-team houseladies || KickerQueen || Novel || marsmaedchen || dj’harem

Sa. 28.02. Popkicker

23 Uhr | Pop und Sport Kenny Dee || Ades Zabel || marsmaedchen || PomoZ || Tischtennis und Tischfußball

By UNAIDS

Film offers invaluable insights into the lives of different cultures, groups and people. It is a medium that has a long history in addressing controversial topics and issues. For men who have sex with men, cinema has been a powerful platform to highlight the challenges they face in society.

Spotlight: men who have * sex with men From the 1969 release of Midnight Cowboy through to the works of Rosa

A recent report addressing HIV and men who have sex with men in a

von Praunheim, social acceptance of the acknowledgement and open-

number of countries in Eastern Europe, the Caucasian Republics and Cen-

ness about men who have sex with men has grown. Most recently, major

tral Asia found that although most of the early cases of HIV in the region

Hollywood films such as BROKEBACK MOUNTAIN (2006) have brought

were diagnosed among men who have sex with men, this remains the least

further mainstream attention and acceptance. Undoubtedly, AIDS – and its

understood of the most-at-risk groups. Reasons include the reluctance of

impact on this community – has been one of the most powerful storylines

these men to be identified as such (even in a medical context), homosexual

used in the past two decades, especially as the men who have sex with men

sex resulting in criminal prosecution in some countries, and, even the ab-

community continues to be one of the groups hardest hit by the epidemic.

sence of criminal sanctions, stigmatization and physical violence.

The landmark film Philadelphia (1993) has been widely used to change attitudes towards AIDS and men who have sex with men.

In a survey conducted among men who have sex with men in Georgia in 2005, one quarter of those interviewed reported having faced social

Nearly three decades since AIDS was first recognized, much progress has

exclusion, discrimination and even violence by strangers, neighbours, fam-

been made globally to prevent new HIV infections and provide antiretroviral

ily members and friends because of their sexual orientation. The survey

therapy to those who need it. But men who have sex with men continue to

revealed that 10% of all respondents had faced physical violence, with

bear a substantial burden of HIV infection, with increasing numbers of new

reports of beatings and two cases of rape, while other respondents reported

infections occurring in a number of countries worldwide.

social rejection and unfair dismissal from work.

The Joint United Nations Programme on HIV/AIDS (UNAIDS) works closely

The impact of violence against men who have sex with men has galvanized

with communities and organizations of men who have sex with men and

action in Latin America where Brazil and Mexico top the table of reported

promotes their leadership and participation in the global AIDS response.

instances. But this may be because rights groups there monitor the situa-

UNAIDS acts as a bridge builder, linking men who have sex with men and

tion more closely than elsewhere in the continent.

their organizations with governments, other civil society and international partners. UNAIDS’ role is to ensure commitment to the protection of the

UNAIDS encourages governments to “know their epidemic” and know how

human rights of men who have sex with men and support countries to put in

it affects men who have sex with men. Using this information, governments

place strategies and programmes to achieve universal access to HIV preven-

need to not only invest resources in supporting HIV prevention, treatment,

tion, treatment, care and support.

care and support for men who have sex with men – tailored programmes that respond to their health needs – but also address the discrimination,

Obstacles in responding to the sexual health needs of men

violence and other barriers that stand in the way of accessing services.

who have sex with men A significant hurdle in reaching out to men who have sex with men in a

Epidemic among men who have sex with men

number of countries is the criminalization of same-sex sex between consent-

Spanning a period of just 28 years since five gay men in the United States

ing adults in private. In such places, few men who have sex with men come

were first identified with an unusual pattern of diseases later labeled AIDS,

forward to access programmes and services for fear of stigma, discrimina-

the epidemic has claimed the lives of more than 25 million people so far

tion, and/or possible legal repercussions. This, in turn, impedes efforts to

across the globe.

reach men who have sex with men – and their partners – with HIV services.

23. TEDDY AWARD / www.teddyaward.tv 71

UNAIDS

“There is no place for homophobia. Universal access to HIV prevention, treatment, care and support must be accessible to all people who are in need – including men who have sex with men*.”

Michel Sidibé newly appointed Executive Director of UNAIDS

Sex between men occurs in every culture and society – though its extent and public acknowledgement vary from place to place – and is thought to account for between 5% and 10% of global HIV infections. It is the predominant mode of HIV transmission in many high-income countries and continues to be the population group most-at-risk of acquiring HIV within Western Europe. However, in countries reporting on access to HIV services by key population group, only around 40% of men who have sex with men have access to the HIV prevention and care services they need.

UNAIDS/Agenica fotolibre

Regional trends

Marching against discrimination and homophobia in Mexico City during the 2008 International AIDS Conference.

Sex between men is the most prominent mode of HIV transmission in nearly all Latin American countries, the United States, Canada and some Western European countries. In Asia, unprotected sex between men poses a significant but under-studied factor in the region’s HIV epidemics. In Africa, several recent studies suggest that more attention is needed to better understand the role of HIV transmission among this population, and that the proportion of the epidemic attributable to sex between men may be larger than previously thought, but there is still a great lack of information. Looking ahead Experience has shown that effective responses to HIV are those based on respect for human rights, and unimpeded access to HIV prevention, treatment, care and support. UNAIDS supports efforts to amend laws prohibiting sexual acts between consenting adults in private, enforce anti-discrimination legislation, provide legal aid services, and promote campaigns that address homophobia. Law, law enforcement practices, stigma and discrimination must be tackled as part of national AIDS responses as vulnerability to HIV infection is increased where men are either excluded from, or exclude themselves from, sexual health programmes and services out of fear. Gay, lesbian, bisexual and transgender communities must be – and have the right to be – empowered to participate equally in the social and political life of their communi-

* The term “men who have sex with men” is used to describe a behaviour rather than a specific group of people. It includes self-identified gay, bisexual, or heterosexual men – many of whom may not consider themselves gay or bisexual.

72 UNAIDS

ties and countries. These communities, who were the frontrunners in the early days of the AIDS response, are key partners today in the movement for universal access to HIV prevention, treatment, care and support.

Last but not least

ACKNOWLEDGMENT / DANKESCHÖN

VENUES / VERANSTALTUNGSORTE

Credits / impressum

The TEDDY foundation thanks its patrons and prize money donators. Without your kind support our work would not be possible at all:

Arsenal Potsdamer Str.2, 10785

Berlinale Palast Am Marlene-Dietrich-Platz 1, 10785

publishers / Herausgeber Elser Maxwell (V.i.S.d.P) und Thomas Malz cine plus Media Service GmbH & Co KG Lützowufer 12, 10785 Berlin Tel: +49-30-26480-100 www.cine-plus.de www.teddyaward.tv

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Editor / Redaktion Diana Näcke

CineStar Potsdamer Str. 4, 10785

Contributing Authors (in alphabetical order) / Autoren (in alphabetischer Reihenfolge) Jonathan Caouette, Michael Ferguson, Alexander Karpisek, Diana Näcke, Lilli Nitsche, Tilda Swinton, UNAIDS, Todd Verow, Phillip Ward, Stephen Winter. Introductions: Dieter Kosslick, Klaus Wowereit

Der TEDDY e.V. bedankt sich bei seinen Mäzenen und Preisgeldspendern mit deren Unterstützung die Arbeit des Fördervereins überhaupt erst möglich ist: Apotheke am Viktoria-Luise-Platz Berghain Böhme, Lipp, Lutz – Zahnärzte Bräunig & Co., Oliver Bräunig Duplexx Edition Salzgeber Eisenherz Buchladen elledorado e.V. Wolfgang Erichson, Bürgermeister Heidelberg Dr. med Michael Fedel Das Finanzkontor Mathias Frings Glasklar Optometrie Praxis Jürgen Graffe Ballettschule Hanno Hassloch House of Shame Praxis Harald Genieser Praxis Hung-Wehmann, Krupka-Bosch, Dr. Gärtner Gemeinschaftspraxis H. Jessen / L. Stein / A. Jessen RAin und Notarin Anne E. Klein Kino International RA Clemens Kurowski Matthias Landwehr Myer's Hotel Fred Peemöller Primeline Werbemedien Pro Fun Media GmbH Propaganda Party / Premion Group Quatsch Comedy Club Alexander Rosenberg Rosenstolz Pierre Sanoussi-Bliss Jan Schneider Schoppenstube Christian Schulz Schwuz South & browse GmbH Ulf Spengler Frank Strobel TIMM.TV Tom´s Hotel Olaf Völzke Schornsteinfegermeister Martin Waßmann Stefan M. Weber Förderverein TEDDY e.V. teddy@teddyaward.org www.teddyaward.org

Zu unseren treuesten Förderern gehört der Förderkreis. Vielen Dank für 10 Jahre Unterstützung und die besten Wünsche zum Jubiläum! – Weiter so !! 74 LAST BUT NOT LEAST

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Translation / Übersetzung November Wanderin Dana Petzold

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Printed by / Druck Möller Druck, Berlin

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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 und jegliche Nut zung der Texte und Bilder bedürfen einer schrift lichen Genehmigung des Herausgebers.

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

The Programme Guide for the 23rd TEDDY AWARDS appears on the occasion of the 59th Berlin International Film Festival 2009 in cooperation with TEDDY e.V. and with the kind support of the Berlin International Film Festival. Das Programmheft zum 23. TEDDY AWARD erscheint anlässlich der 59. Internationalen Filmfestspiele Berlin 2009 in Zusammenarbeit mit dem Teddy e.V. und mit freundlicher Unterstützung der Internationalen Filmfestspiele Berlin.

Disclaimer of liability / Haftungsausschluss We can not guarantee any of the published dates. All dates and information listed were last updated on January 20th, 2009. / Für die veröffentlichten Termine können wir keine Garantie geben. Alle Termine und Informationen entsprechen dem Stand vom 20. Januar 2009. 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. / 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.

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