Exclusive: Leonine Studios will handle world sales for Odeon Fiction’s new high-end German-language spy series Bonn.
The six-part political-thriller, which follows Odeon’s AMC+ series Spy City with Dominic Cooper, recounts the rise of Germany’s Federal Republic after the terror of World War II. It focuses on a young woman who struggles to find her own place in a male-dominated society in the 1950s and the political tug-of-war between German’s two rival intelligence services.
The acting ensemble comprises Mercedes Müller (Goodbye Berlin) in the lead role of Toni, Max Riemelt (Matrix 4), Sebastian Blomberg (The People Vs. Fritz Bauer), Juergen Maurer (Perfume), Katharina Marie Schubert (A Gift From The Gods), Inga Busch (I’m Your Man), Luise von Finckh (Deutschland 89), Julius Feldmeier (Babylon Berlin) and Johanna Gastdorf (The Wave).
Based on an idea by Gerrit Hermans, the series heralds from director and head writer Claudia Garde (The Window...
The six-part political-thriller, which follows Odeon’s AMC+ series Spy City with Dominic Cooper, recounts the rise of Germany’s Federal Republic after the terror of World War II. It focuses on a young woman who struggles to find her own place in a male-dominated society in the 1950s and the political tug-of-war between German’s two rival intelligence services.
The acting ensemble comprises Mercedes Müller (Goodbye Berlin) in the lead role of Toni, Max Riemelt (Matrix 4), Sebastian Blomberg (The People Vs. Fritz Bauer), Juergen Maurer (Perfume), Katharina Marie Schubert (A Gift From The Gods), Inga Busch (I’m Your Man), Luise von Finckh (Deutschland 89), Julius Feldmeier (Babylon Berlin) and Johanna Gastdorf (The Wave).
Based on an idea by Gerrit Hermans, the series heralds from director and head writer Claudia Garde (The Window...
- 8/17/2021
- by Andreas Wiseman
- Deadline Film + TV
The Berlin International Film Festival is celebrating its opening today, on February 7, 2013 at 7.30 pm. After a few words of greeting from Minister of State for Cultural and Media Affairs Bernd Neumann and Governing Mayor of Berlin Klaus Wowereit, the Festival will be officially opened by Jury President Wong Kar Wai (Hong Kong, China) and Berlinale Director Dieter Kosslick. The International Jury – whose other members are Susanne Bier (Denmark), Andreas Dresen (Germany), Ellen Kuras (USA), Shirin Neshat (Iran), Tim Robbins (USA) and Athina Rachel Tsangari (Greece) – will also be introduced during the gala. Anke Engelke will again host the evening. This year’s music will be provided by Ulrich Tukur & Die Rhythmus Boys. 3sat will be broadcasting the opening live. Ziyi Zhang in Yi dai zong shi (The Grandmaster) by Wong Kar Wai Following the gala, Wong Kar Wai’s epic martial-arts drama The Grandmaster will have its international premiere. The director and his leading actors,...
- 2/7/2013
- by hnblog@hollywoodnews.com (Hollywood News Team)
- Hollywoodnews.com
Warning: minor spoilers
Out German director Monika Treut (Female Misbehaviour, Gendernauts) set out to make a film about lesbians whose sexuality is a non-issue. Consequently, the focus in Ghosted isn't on the relationships between the central characters, but the unfolding mystery about one of their deaths.
Ghosted starts by focusing on Ai-Ling (Huan-Ru Ke), a Taiwanese woman interested in finding out more about her dead father. The only one who could tell her anything would be his brother, Ai-Ling's uncle, who lives in Hamburg, Germany, where he owns a restaurant.
Ai-Ling's mother is not happy about her going to dig up family history, but gives her daughter permission to go.
Ai-Ling (Huan-Ru Ke)
Once in Germany, Ai-Ling meets Sophie (Inga Busch), an artist she falls for after sitting next to her at a movie.
They soon move in together (in true lesbian fashion) and Ai-Ling is able to concentrate on...
Out German director Monika Treut (Female Misbehaviour, Gendernauts) set out to make a film about lesbians whose sexuality is a non-issue. Consequently, the focus in Ghosted isn't on the relationships between the central characters, but the unfolding mystery about one of their deaths.
Ghosted starts by focusing on Ai-Ling (Huan-Ru Ke), a Taiwanese woman interested in finding out more about her dead father. The only one who could tell her anything would be his brother, Ai-Ling's uncle, who lives in Hamburg, Germany, where he owns a restaurant.
Ai-Ling's mother is not happy about her going to dig up family history, but gives her daughter permission to go.
Ai-Ling (Huan-Ru Ke)
Once in Germany, Ai-Ling meets Sophie (Inga Busch), an artist she falls for after sitting next to her at a movie.
They soon move in together (in true lesbian fashion) and Ai-Ling is able to concentrate on...
- 8/27/2009
- by Trish Bendix
- AfterEllen.com
The new movie Ghosted is about a lesbian love triangle. Are you intrigued? I was, and I had to know more. The New York Times gave it a so-so review, saying the film "generates an aura of thoughtful storytelling without actually possessing any notable thoughts," but also notes it "offers a refreshingly matter-of-fact view of lesbian relationships — although ones marked by schematic tragedy and intimations of the supernatural — and depicts its cross-cultural milieu with maturity and tact."
Supernatural lesbians? Sounds like my kind of movie.
Ghosted, which opened for limited release over the weekend, follows German artist Sophie Schmitt (Inga Busch), whose girlfriend Ai-Ling (Han-Ru Ke) recently died. Sophie becomes involved with a journalist, Mei Li (Ting Ting Hu), who wants to know all about her work, and they begin a relationship. However, Sophie finds out that Mei-li is a little too interested in her deceased girlfriend, and that she...
Supernatural lesbians? Sounds like my kind of movie.
Ghosted, which opened for limited release over the weekend, follows German artist Sophie Schmitt (Inga Busch), whose girlfriend Ai-Ling (Han-Ru Ke) recently died. Sophie becomes involved with a journalist, Mei Li (Ting Ting Hu), who wants to know all about her work, and they begin a relationship. However, Sophie finds out that Mei-li is a little too interested in her deceased girlfriend, and that she...
- 8/4/2009
- by Trish Bendix
- AfterEllen.com
Postcard views of Hamburg and Taipei are the main asset of "Ghosted," the return of pioneering lesbian auteur Monika Treut to narrative films after a long stretch devoted to documentaries and teaching in the United States.
Inga Busch plays a German artist who is touring China with a video installation devoted to her late Taiwanese lover (Huan-Ru Ke).
Our heroine rejects the overtures of a sexy Chinese journalist (Ting-Ting Hu) but succumbs when the latter turns up in Hamburg.
Inga Busch plays a German artist who is touring China with a video installation devoted to her late Taiwanese lover (Huan-Ru Ke).
Our heroine rejects the overtures of a sexy Chinese journalist (Ting-Ting Hu) but succumbs when the latter turns up in Hamburg.
- 7/31/2009
- by By LOU LUMENICK
- NYPost.com
This week plays host to a release slate so big that when it's finished doing the rounds in theaters we expect it to climb out of the sea and attack Japan.
Download this in audio form (MP3: 14:50 minutes, 13.6 Mb) Subscribe to the In Theaters podcast: [Xml] [iTunes]
"Act of God"
Following "Manufactured Landscapes," her compelling 2006 portrait of photographer Edward Burtynsky and the paradoxical beauty of his images of industry, Canadian documentary filmmaker Jennifer Baichwal turns her attention to one of nature's most dynamic phenomenon. Collecting a multitude of testimony from lightning strike survivors and witnesses, Baichwal explores a host of ideas and explanations for this awe-inspiring experience, from the miraculously divine to the maddeningly random.
Opens in Chicago.
"Adam"
With an actual medical condition taking the place of the now-nearly-obligatory dose of quirk, writer/director Max Mayer's gentle story of boy meets girl -- his first film since 1998's...
Download this in audio form (MP3: 14:50 minutes, 13.6 Mb) Subscribe to the In Theaters podcast: [Xml] [iTunes]
"Act of God"
Following "Manufactured Landscapes," her compelling 2006 portrait of photographer Edward Burtynsky and the paradoxical beauty of his images of industry, Canadian documentary filmmaker Jennifer Baichwal turns her attention to one of nature's most dynamic phenomenon. Collecting a multitude of testimony from lightning strike survivors and witnesses, Baichwal explores a host of ideas and explanations for this awe-inspiring experience, from the miraculously divine to the maddeningly random.
Opens in Chicago.
"Adam"
With an actual medical condition taking the place of the now-nearly-obligatory dose of quirk, writer/director Max Mayer's gentle story of boy meets girl -- his first film since 1998's...
- 7/28/2009
- by Neil Pedley
- ifc.com
The Panorama section will comprise a total of 50 titles with about a third of those being documentaries and here's the first 21 of the list. Oddly enough Dominic Murphy's White Lightnin' will be playing although it's having it's premier at Sundance. Another film we reported on, Uli Lommel's Absolute Evil starring David Carradine will also be playing, and I'm still wondering how the hell they got that in there.
You can check out the list of all 21 titles after the break.
Absolute Evil by Ulli Lommel, USA (world premiere)
With David Carradine, Carolyn Neff, Ulli Lommel, Chris Kiesa
Ander by Roberto Castón, Spain (directorial debut and world premiere)
With Josean Bengoetxea, Cristhian Esquivel, Mamen Rivera, Pilar Rodríguez, Leire Ucha
At Stake by Iwan Setiawan, Muhammad Ichsan, Lucky Kuswandi, Ucu Agustin, Ani Ema Susanti, Indonesia
Panorama Dokumente
Coyote by Chema Rodríguez, Spain (world premiere)
Panorama Dokumente
Der Knochenmann (The Bone Man) by Wolfgang Murnberger,...
You can check out the list of all 21 titles after the break.
Absolute Evil by Ulli Lommel, USA (world premiere)
With David Carradine, Carolyn Neff, Ulli Lommel, Chris Kiesa
Ander by Roberto Castón, Spain (directorial debut and world premiere)
With Josean Bengoetxea, Cristhian Esquivel, Mamen Rivera, Pilar Rodríguez, Leire Ucha
At Stake by Iwan Setiawan, Muhammad Ichsan, Lucky Kuswandi, Ucu Agustin, Ani Ema Susanti, Indonesia
Panorama Dokumente
Coyote by Chema Rodríguez, Spain (world premiere)
Panorama Dokumente
Der Knochenmann (The Bone Man) by Wolfgang Murnberger,...
- 1/7/2009
- QuietEarth.us
Cannes, In Competition
It's well known that once-revered German auteur Wim Wenders doesn't make films like he used to. The director of such cinema classics as "Kings of the Road" (1976), "The American Friend" (1977), "Paris, Texas" (1984) and "Wings of Desire" (1987) hasn't made a decent film in years, apart from "Buena Vista Social Club", his 1998 documentary on music in Cuba.
However, Wenders has reached a new low with "Palermo Shooting", a film of startling and embarrassing banality and, yes, even silliness. One is hard-pressed to imagine any commercial future whatsoever for this film, and a pickup by a U.S. distribution company seems virtually impossible.
Finn (Campino) is a very, very handsome photographer who leads a hectic but exciting professional life. (This character seems to be lifted almost intact from Antonioni's "Blow-up", including a scene in which he enlarges a photograph to find its hidden meaning.)
One night he's almost killed in a automobile accident, and he comes face-to-face with the meaninglessness of his life. After a fashion shoot in Palermo, he decides to stay in the Sicilian city, presumably to reconnect with the reality that has been drained from his high-tech locations and to discover the meaning of life.
What he discovers instead is a fleeting monklike figure, part real and part dreamlike, who is shooting semi-imaginary arrows at him. Everyone he encounters in his mostly cliched wanderings through the city tells him Palermo is "the city of death" despite the fact that many other writers and filmmakers have long ago awarded this honor to Naples. He also meets Flavia (Giovanna Mezzogiorno) , a specialist in the restoration of frescoes, who also helps to restore his spirit.
Every time the film goes philosophical on us, the resultant dialogue is sententious and banal. We learn, among other things, that people during the time of the fresco that Flavia is restoring were afraid of death, and that they still are, and that, to live life to the fullest, we should do everything as though it were for the last time. He speaks meaningfully of "absurd freedom" and "desperate futility." Finn also is repeatedly warned that doing this "fashion crap" is hurting his reputation in the art world, another not-exactly-fresh theme.
Finn also is beset by recurring nightmares in which he is reduced to a minuscule figure in a gigantic room (shades of "The Incredible Shrinking Man", but at least that guy had the excuse of atomic radiation). Another favorite is a distorted clock that he hangs on to in mid-air (shades of Bergman's "Wild Strawberries"). Wenders seems to have absolutely no idea that these images would cause audiences to laugh out loud (and not in a good way).
In his travels, Finn encounters a huge number of disparate souls that impart various nuggets of wisdom. He tells one, in one of the movie's better moments, that "I am completely lost". But all of this pales into insignificance when he comes face-to-face with Death, appropriately played by Dennis Hopper. During their verbal sparring, Death explains reasonably that "the fear of death is really a fear of life," but the best exchange comes when he peevishly complains that "I'm tired of playing the bad guy" and asks Finn, the accomplished photographer, to help him improve his image by taking a great photo, even if it has to be a digital one, which he doesn't approve of.
For most viewers, the question of the meaning of it all will come down to this: Where does Wenders find people to continue to invest in his films?
Production: Neue Road Movies. Cast: Campino, Giovanna Mezzogiorno, Dennis Hopper, Lou Reed, Inga Busch. Director: Wim Wenders. Screenwriters: Wim Wenders, Norman Ohler. Producer: Gian-Piero Ringel. Director of photography: Franz Lustig. Sales: Hanway Films. No rating, 124 minutes. Production designer: Sebastian Soukup Costume designer: Daniela Ciancio Editor: Peter Przygodda, Oli Weiss Music: Irmin Schmidt...
It's well known that once-revered German auteur Wim Wenders doesn't make films like he used to. The director of such cinema classics as "Kings of the Road" (1976), "The American Friend" (1977), "Paris, Texas" (1984) and "Wings of Desire" (1987) hasn't made a decent film in years, apart from "Buena Vista Social Club", his 1998 documentary on music in Cuba.
However, Wenders has reached a new low with "Palermo Shooting", a film of startling and embarrassing banality and, yes, even silliness. One is hard-pressed to imagine any commercial future whatsoever for this film, and a pickup by a U.S. distribution company seems virtually impossible.
Finn (Campino) is a very, very handsome photographer who leads a hectic but exciting professional life. (This character seems to be lifted almost intact from Antonioni's "Blow-up", including a scene in which he enlarges a photograph to find its hidden meaning.)
One night he's almost killed in a automobile accident, and he comes face-to-face with the meaninglessness of his life. After a fashion shoot in Palermo, he decides to stay in the Sicilian city, presumably to reconnect with the reality that has been drained from his high-tech locations and to discover the meaning of life.
What he discovers instead is a fleeting monklike figure, part real and part dreamlike, who is shooting semi-imaginary arrows at him. Everyone he encounters in his mostly cliched wanderings through the city tells him Palermo is "the city of death" despite the fact that many other writers and filmmakers have long ago awarded this honor to Naples. He also meets Flavia (Giovanna Mezzogiorno) , a specialist in the restoration of frescoes, who also helps to restore his spirit.
Every time the film goes philosophical on us, the resultant dialogue is sententious and banal. We learn, among other things, that people during the time of the fresco that Flavia is restoring were afraid of death, and that they still are, and that, to live life to the fullest, we should do everything as though it were for the last time. He speaks meaningfully of "absurd freedom" and "desperate futility." Finn also is repeatedly warned that doing this "fashion crap" is hurting his reputation in the art world, another not-exactly-fresh theme.
Finn also is beset by recurring nightmares in which he is reduced to a minuscule figure in a gigantic room (shades of "The Incredible Shrinking Man", but at least that guy had the excuse of atomic radiation). Another favorite is a distorted clock that he hangs on to in mid-air (shades of Bergman's "Wild Strawberries"). Wenders seems to have absolutely no idea that these images would cause audiences to laugh out loud (and not in a good way).
In his travels, Finn encounters a huge number of disparate souls that impart various nuggets of wisdom. He tells one, in one of the movie's better moments, that "I am completely lost". But all of this pales into insignificance when he comes face-to-face with Death, appropriately played by Dennis Hopper. During their verbal sparring, Death explains reasonably that "the fear of death is really a fear of life," but the best exchange comes when he peevishly complains that "I'm tired of playing the bad guy" and asks Finn, the accomplished photographer, to help him improve his image by taking a great photo, even if it has to be a digital one, which he doesn't approve of.
For most viewers, the question of the meaning of it all will come down to this: Where does Wenders find people to continue to invest in his films?
Production: Neue Road Movies. Cast: Campino, Giovanna Mezzogiorno, Dennis Hopper, Lou Reed, Inga Busch. Director: Wim Wenders. Screenwriters: Wim Wenders, Norman Ohler. Producer: Gian-Piero Ringel. Director of photography: Franz Lustig. Sales: Hanway Films. No rating, 124 minutes. Production designer: Sebastian Soukup Costume designer: Daniela Ciancio Editor: Peter Przygodda, Oli Weiss Music: Irmin Schmidt...
- 5/28/2008
- The Hollywood Reporter - Movie News
Cannes, In Competition
It's well known that once-revered German auteur Wim Wenders doesn't make films like he used to. The director of such cinema classics as "Kings of the Road" (1976), "The American Friend" (1977), "Paris, Texas" (1984) and "Wings of Desire" (1987) hasn't made a decent film in years, apart from "Buena Vista Social Club", his 1998 documentary on music in Cuba.
However, Wenders has reached a new low with "Palermo Shooting", a film of startling and embarrassing banality and, yes, even silliness. One is hard-pressed to imagine any commercial future whatsoever for this film, and a pickup by a U.S. distribution company seems virtually impossible.
Finn (Campino) is a very, very handsome photographer who leads a hectic but exciting professional life. (This character seems to be lifted almost intact from Antonioni's "Blow-up", including a scene in which he enlarges a photograph to find its hidden meaning.)
One night he's almost killed in a automobile accident, and he comes face-to-face with the meaninglessness of his life. After a fashion shoot in Palermo, he decides to stay in the Sicilian city, presumably to reconnect with the reality that has been drained from his high-tech locations and to discover the meaning of life.
What he discovers instead is a fleeting monklike figure, part real and part dreamlike, who is shooting semi-imaginary arrows at him. Everyone he encounters in his mostly cliched wanderings through the city tells him Palermo is "the city of death" despite the fact that many other writers and filmmakers have long ago awarded this honor to Naples. He also meets Flavia (Giovanna Mezzogiorno) , a specialist in the restoration of frescoes, who also helps to restore his spirit.
Every time the film goes philosophical on us, the resultant dialogue is sententious and banal. We learn, among other things, that people during the time of the fresco that Flavia is restoring were afraid of death, and that they still are, and that, to live life to the fullest, we should do everything as though it were for the last time. He speaks meaningfully of "absurd freedom" and "desperate futility." Finn also is repeatedly warned that doing this "fashion crap" is hurting his reputation in the art world, another not-exactly-fresh theme.
Finn also is beset by recurring nightmares in which he is reduced to a minuscule figure in a gigantic room (shades of "The Incredible Shrinking Man", but at least that guy had the excuse of atomic radiation). Another favorite is a distorted clock that he hangs on to in mid-air (shades of Bergman's "Wild Strawberries"). Wenders seems to have absolutely no idea that these images would cause audiences to laugh out loud (and not in a good way).
In his travels, Finn encounters a huge number of disparate souls that impart various nuggets of wisdom. He tells one, in one of the movie's better moments, that "I am completely lost". But all of this pales into insignificance when he comes face-to-face with Death, appropriately played by Dennis Hopper. During their verbal sparring, Death explains reasonably that "the fear of death is really a fear of life," but the best exchange comes when he peevishly complains that "I'm tired of playing the bad guy" and asks Finn, the accomplished photographer, to help him improve his image by taking a great photo, even if it has to be a digital one, which he doesn't approve of.
For most viewers, the question of the meaning of it all will come down to this: Where does Wenders find people to continue to invest in his films?
Production: Neue Road Movies. Cast: Campino, Giovanna Mezzogiorno, Dennis Hopper, Lou Reed, Inga Busch. Director: Wim Wenders. Screenwriters: Wim Wenders, Norman Ohler. Producer: Gian-Piero Ringel. Director of photography: Franz Lustig. Sales: Hanway Films. No rating, 124 minutes. Production designer: Sebastian Soukup Costume designer: Daniela Ciancio Editor: Peter Przygodda, Oli Weiss Music: Irmin Schmidt...
It's well known that once-revered German auteur Wim Wenders doesn't make films like he used to. The director of such cinema classics as "Kings of the Road" (1976), "The American Friend" (1977), "Paris, Texas" (1984) and "Wings of Desire" (1987) hasn't made a decent film in years, apart from "Buena Vista Social Club", his 1998 documentary on music in Cuba.
However, Wenders has reached a new low with "Palermo Shooting", a film of startling and embarrassing banality and, yes, even silliness. One is hard-pressed to imagine any commercial future whatsoever for this film, and a pickup by a U.S. distribution company seems virtually impossible.
Finn (Campino) is a very, very handsome photographer who leads a hectic but exciting professional life. (This character seems to be lifted almost intact from Antonioni's "Blow-up", including a scene in which he enlarges a photograph to find its hidden meaning.)
One night he's almost killed in a automobile accident, and he comes face-to-face with the meaninglessness of his life. After a fashion shoot in Palermo, he decides to stay in the Sicilian city, presumably to reconnect with the reality that has been drained from his high-tech locations and to discover the meaning of life.
What he discovers instead is a fleeting monklike figure, part real and part dreamlike, who is shooting semi-imaginary arrows at him. Everyone he encounters in his mostly cliched wanderings through the city tells him Palermo is "the city of death" despite the fact that many other writers and filmmakers have long ago awarded this honor to Naples. He also meets Flavia (Giovanna Mezzogiorno) , a specialist in the restoration of frescoes, who also helps to restore his spirit.
Every time the film goes philosophical on us, the resultant dialogue is sententious and banal. We learn, among other things, that people during the time of the fresco that Flavia is restoring were afraid of death, and that they still are, and that, to live life to the fullest, we should do everything as though it were for the last time. He speaks meaningfully of "absurd freedom" and "desperate futility." Finn also is repeatedly warned that doing this "fashion crap" is hurting his reputation in the art world, another not-exactly-fresh theme.
Finn also is beset by recurring nightmares in which he is reduced to a minuscule figure in a gigantic room (shades of "The Incredible Shrinking Man", but at least that guy had the excuse of atomic radiation). Another favorite is a distorted clock that he hangs on to in mid-air (shades of Bergman's "Wild Strawberries"). Wenders seems to have absolutely no idea that these images would cause audiences to laugh out loud (and not in a good way).
In his travels, Finn encounters a huge number of disparate souls that impart various nuggets of wisdom. He tells one, in one of the movie's better moments, that "I am completely lost". But all of this pales into insignificance when he comes face-to-face with Death, appropriately played by Dennis Hopper. During their verbal sparring, Death explains reasonably that "the fear of death is really a fear of life," but the best exchange comes when he peevishly complains that "I'm tired of playing the bad guy" and asks Finn, the accomplished photographer, to help him improve his image by taking a great photo, even if it has to be a digital one, which he doesn't approve of.
For most viewers, the question of the meaning of it all will come down to this: Where does Wenders find people to continue to invest in his films?
Production: Neue Road Movies. Cast: Campino, Giovanna Mezzogiorno, Dennis Hopper, Lou Reed, Inga Busch. Director: Wim Wenders. Screenwriters: Wim Wenders, Norman Ohler. Producer: Gian-Piero Ringel. Director of photography: Franz Lustig. Sales: Hanway Films. No rating, 124 minutes. Production designer: Sebastian Soukup Costume designer: Daniela Ciancio Editor: Peter Przygodda, Oli Weiss Music: Irmin Schmidt...
- 5/27/2008
- The Hollywood Reporter - Movie News
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