Anja Kling, Lisa Tomaschewsky, Tobias Oertel, Thomas Bading, Axel Schreiber, Benjamin Sadler, Inka Friedrich, Andreas Schmidt
Regie
Carlo Rola
Drehbuch
Christoph Silber & Thorsten Wettcke
Kamera
Nicolay Gutscher
Schnitt
Friderike von Normann
Ton
Wolf-Dietrich Peters-Vallerius
Szenenbild
Marcus A. Berndt
Kostümbild
Carola Neutze
Maske
Jessica Haupt, Daina Rieckhoff
Licht
Uli Klotz
Casting
Anna Slater Casting
Produktionsleitung
Susanne Bähre
ProducerIn
Ilka Förster
Ausführender Produzent
Prof. Wolfgang Hantke
ProduzentIn
Regina Ziegler
Redaktion
Günther van Endert
Sender
ZDF
1974, a typing pool in Bremen, Germany. At breakneck speed Siggi Thieme transcripts today´s last examination. She will leave early to attend the most important appointment of her life: the selection interview at police school. Becoming one of the first female detective superintendents in Germany, Siggi must cope with prejudices in a man’s world from the very first day of her education program.
Besides that, her family is concerned about her and her fiancé turns his back on Siggi.
So, Siggi moves in with Jutta and Vollo, but conflict with her flower-power loving roommates is inevitable.
Cornelia Gröschel, Marlon Kittel, Peter Heinrich Brix, Steffi Kühnert, Anne Kanis u.v.m.
Regie
Franziska Buch
Drehbuch
Meriko Gehrmann, Arne Laser
Kamera
Konstantin Kröning
Schnitt
Tobias Haas
Ton
Michael Junge
Musik
Ulrich Reuter
Szenenbild
Olivier Meidinger
Kostümbild
Eveline Stösser
Maske
Annett Schulze
Casting
Tina Böckenhauer
Produktionsleitung
Susanne Bergmann
Herstellungsleitung
Angela Gillner
ProducerIn
Kirsten Ellerbrake
ProduzentIn
Tanja Ziegler
Redaktion
Beate Bramstedt
Sender
ZDF
Romeo and Juliet, along with the story of Cain and Abel, provide the background motifs for this dramatic family series, which depicts two very different families in East Berlin during the 1980s. The Kupfers hold an important place in the power structure of the East German system, with father Hans and eldest son Falk both senior officers in the Stasi – the Ministry of State Security - mother Marlene a loyal member of the Communist Party, and younger son Martin a policeman. In contrast, the Hausmanns tend to be critical of the regime: mother Dunja is a songwriter under permanent surveillance from the Stasi, and daughter Julia is regarded by the authorities as someone who might try to escape the country. So when Martin and Julia fall in love, their relationship shakes the foundations of both families. As the second series begins six years later, the social and political conflicts have intensified. Hans has spoken out in favour of reforms in the Stasi, coming up against resistance from both his son Falk and his wife Marlene. And when Falk's wife Vera starts taking an interest in the civil rights movement, this places even more pressure on Falk and the family. Julia has spent a long time in prison on a charge of treason, and she lost her baby when she gave birth behind bars. For many years she didn‘t see her beloved Martin, who has broken off all contact with his family. Julia's mother Dunja is collaborating with the Stasi in an effort to help Julia. But now some inconsistencies appear in the official account of the death of Julia and Martin's baby. They begin to ask questions – and the answers lead back to Martin's own family, triggering a catastrophe.
Florian Lukas, Uwe Kockisch, Ruth Reinecke, Jörg Hartmann, Hannah Herzsprung, Katrin Sass
Regie
Friedemann Fromm
Drehbuch
Annette Hess
Kamera
Michael Wiesweg
Schnitt
Annemarie Bremer, Janina Gerkens
Ton
Raoul Grass
Musik
Stefan Mertin
Szenenbild
Frank Godt
Kostümbild
Monika Hinz
Maske
Annette Oehlkers, Uta Spikermann
Licht
Justus Hasenzahl
Casting
Heta Mantscheff
Produktionsleitung
Jutta Paarmann
Herstellungsleitung
Peter Hartwig
ProduzentIn
Regina Ziegler, Marc Müller-Kaldenberg
Redaktion
Jana Brandt
Sender
MDR
Länge
6x45 Min.
Erich Kästner (1899-1974) - writer and screenwriter, playwright and author of children's books, journalist and publicist, humorist and satirist - was an eyewitness in 1933 to the burning of his books by the Nazis. Although he was blacklisted and often without work or income, Kästner never emigrated but continued instead to write under different pseudonyms.
Many critics consider Wolf Gremm's FABIAN (1978), which was nominated for both a Golden Globe and an Academy Award in the Best Foreign Film category, as one of the best screen adaptations of an Erich Kästner novel. When published in 1931, the book attacked militarism, fascism, and the dubious code of the German “Spießbürger” (petit bourgeois) from a standpoint of moral outrage and with a broadside of barbed wit. Re-released on German television as a special event to commemorate the 100th anniversary of Erich Kästner's birthday, Wolf Gremm's FABIAN appears as timely today as it did more than eight decades ago.
Hans-Peter Hallwachs, Silvia Janisch,Hermann Lause, Mijanou van Barzel,Brigitte Mira, Ruth Niehaus, Ivan Desny,Charles Regnier,u
Regie
Wolf Gremm
Drehbuch
Hans Borgelt, Wolf Gremm
Kamera
Jürgen Wagner
Schnitt
Sigrun Jäger
Musik
Charles Kalman
Szenenbild
Jan Schlubach
ProduzentIn
Regina Ziegler Filmproduktion
Genre
Feature Film
Format
35 mm Farbe
Länge
117 min.
Auszeichnugen
Nominierung "Golden Globe", Nominierung "Oscar"
Montreal `79, Chicago `79, Washington `79
His curiosity aroused by the joy so clearly visible in those television images from November 9th 1989, the day of German reunification, Marcel Ophüls resolved to return to the site of these historic events one year later and talk to the people featured in the pictures. He set off with his team, intent on combining his journalistic skills with the need of the filmmaker to attain deeper, underlying truths - in order to establish whether people’s lives really had been changed for better or for worse. While approaching the subject in a relatively light-hearted manner, Ophüls is consistent in his manner as he interviews East German people, ranging from the man in the street right up to Egon Krenz; he displays an unerring instinct for authenticity, refusing to let go until the truth has been revealed to him - and to us. NOVEMBER DAYS is like a time machine, moving to and from between the present and the past, mingling a kaleidoscope of entertainment images and news footage, shot from the streets, clubs and restaurants in Berlin and even including extracts from films such as THE BLUE ANGEL, STAGECOACH and CABARET. Ultimately it is Ophül’s astute way of posing questions which distinguishes in ironic fashion between the answers and the lies.
Regie
Marcel Ophüls
Drehbuch
Marcel Ophüls
Kamera
Peter Boultwood & Pierre Boffety & Annette Metzger
Schnitt
Sophie Brunet & Albert Jurgenson & Catherine Zins
ProduzentIn
Regina Ziegler, Athur Cohn and BBC- TV
Genre
Documentary
Format
16mm, Farbe
Länge
90 Min.
Auszeichnugen
Adolf Grimme Preis in Gold