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PROGRAMME GUIDE All queer films at the 63rd Berlin International Film Festival

7th -17th of February 2013

www.teddyaward.tv


2 Kindly supported by Harald Christ


We are family

The tide is rising and the world is poaching. Greed and egocentricity, known to men as the “economic crisis”, are leaving collateral damage in every corner of our Planet Earth. Those who suffer most are the poor, the weak, families, and minorities. People either leave or change in order to find happiness, to instinctively seek shelter in a different community or in a new form of family. Another thing happening is slowly creeping homophobia. Therefore, TEDDY AWARD comes at the right time, turning the spotlight on all those outstanding queer artists of the past hundred years, who have tried to expand the boarders of art through their colourful oeuvre on the one hand and to survive the “ordinary” society being gay, lesbian, bisexual or transgender on the other. The focus of the TEDDY is put on the motto “Queer Icons! We reveal our queer family album” thus showing that queer friendships and partnerships have of course always been some kind of family. This focus also creates other impressions: Many artists of the queer album had to “travel” and experience fundamental changes. After the art of Valeska Gert had been considered “degenerate” from 1933 onwards, the avant-garde dancer and actress started to work in France, the U.S. and England, and died in 1978 being a happy bar owner on the island of Sylt. The American author James Baldwin, who was born in Harlem New York, escaped from the racism in his country. He then lived in France for almost 40 years, until he died. Drag queen and singer Divine embarked on a journey of a different kind. His bodyweight went up to 170 kg, until his heart stopped beating at the age of 42. The homage of the TEDDY AWARD to the great and most beautiful actor Jean Marais, who was a member of the international Berlinale jury in 1958 and jury president in 1985, is an emotional blast from the past. “Jean, I don’t cry. I will sleep and watch you while I am sleeping, and then I will die. Because from now on, all I am going to do is only pretending to be alive”. This is what Marais wrote after his friend Jean Cocteau had died. The deep friendship between Jean Marais and the author, painter and director Jean Cocteau (“La Belle et la Bête”) also stood for the exceptional symbiosis of unconditional affection and the mutual artistic exchange of inspirations between the two. It also reminds us of the fact that love and relationships can be the driving force behind creativity, and not just the solitude which the artist often likes to praise… This “family spirit” also lives on in Lian Lunson’s moving Panorama film “Sing Me The Songs That Say I love You - A Concert For Kate McGarrigle”, as the siblings Rufus and Martha Wainwright, surrounded by their large family and many friends, give a memorial concert for their deceased mother. Together with Imany and Katharine Mehrling, Rufus Wainwright is one of the stars of the big award ceremony on the occasion of the world’s most important gay-lesbian film award. I am very happy about the commitment of the organization Human Rights Watch, which works together with the TEDDY AWARD to draw people’s attention to the human rights situation of queer people around the world. And now the Berlinale family is calling: We wish all the guests, artists and creators of the 27th TEDDY AWARD plenty of moving moments and waves of enthusiasm. Dieter Kosslick Director of the Berlin International Film Festival

Und auch das passiert: Die Homophobie kriecht weiter. Da hat der TEDDY AWARD den richtigen Zeitpunkt gewählt, wenn er jetzt die Scheinwerfer auf bedeutende queere Künstlerinnen und Künstler der vergangenen hundert Jahre richtet, die versucht haben, sowohl mit ihrem schillernden Œuvre die Grenzen von Kunst zu erweitern, als auch als Schwule, Lesben, Bisexuelle oder Transgender in der „normalen“ Gesellschaft zu (über)leben. Der TEDDY- Schwerpunkt „Queer Icons! Wir eröffnen unser queeres ‚Familienalbum‘“ lässt aber auch erkennen, dass queere Freund- und Partnerschaften selbstverständlich immer auch „Familie“ waren – und sind. Und der Schwerpunkt verschafft auch andere Eindrücke: Viele Künstler des queeren Albums mussten „wandern“ und starke Veränderungen erfahren. Nachdem die Kunst der avantgardistischen Tänzerin und Schauspielerin Valeska Gert ab 1933 als „entartet“ galt, arbeitete sie in Frankreich, den USA und England, starb schließlich 1978 als fröhliche Nachtlokalbesitzerin auf Sylt; der US-amerikanische Schriftsteller James Baldwin, geboren in Harlem, New York, floh vor dem Rassismus in seinem Lande und lebte anschließend und bis zu seinem Tod fast 40 Jahre lang in Frankreich; Drag Queen und Sänger Divine unternahm eine Wanderung anderer Art, als sein Gewicht auf 170 Kilo wanderte, und sein Herz schließlich mit 42 Jahren still stand. Mit der Hommage des TEDDY AWARDs an den großen und ganz wunderschönen Schauspieler Jean Marais – 1958 war er Mitglied der Internationalen Jury der Berlinale, 1985 Jury-Präsident – ertönt ein leidenschaftlicher Gruß aus der Vergangenheit. „Jean, ich weine nicht. Ich werde schlafen und dich dabei ansehen und sterben, denn von nun an werde ich nur so tun, als lebte ich“, schrieb Marais, als sein Freund Jean Cocteau starb. Die tiefe Freundschaft von Jean Marais und dem Schriftsteller, Maler und Regisseur Jean Cocteau („La Belle et la Bête“) stand auch für die rare Symbiose von unbedingter Zuneigung und gegenseitiger künstlerischer Inspiration. Und sie erinnert daran, dass gerade Partnerschaften die wichtigsten Triebfedern für Kreativität sein können, nicht nur die gerne beschworene Einsamkeit des Künstlers … Der „family spirit“ lebt auch in Lian Lunsons bewegendem Panorama-Beitrag „Sing Me The Songs That Say I Love You – A Concert For Kate McGarrigle“ weiter, wenn die Geschwister Rufus und Martha Wainwright inmitten ihrer großen Familie und Freunde ein Gedenkkonzert für ihre verstorbene Mutter geben. Und Rufus Wainwright gehört zusammen mit Imany und Katharine Mehrling zu den Stars der großen Preisverleihung des weltweit bedeutendsten schwullesbischen Filmpreises.

© Marc Ohrem-Leclef

We are family

Die Wellen schlagen hoch, die Welt wildert: Gier und Egozentrik, gerne auch „ökonomische Krise“ genannt, hinterlassen heute in jedem Winkel der Erde ihre Kollateralschäden. Arme, Schwache, Familien, Minderheiten sind die Leidtragenden. Menschen wandern aus oder (ver)wandeln sich, um das Glück neu zu finden, um instinktiv Schutz zu suchen in einer anderen Gemeinschaft oder neuen Form von Familie.

Ich freue mich über das Engagement der Organisation Human Rights Watch, die zusammen mit dem TEDDY AWARD auf die Menschenrechtssituation von queeren Menschen in der Welt aufmerksam macht. Und jetzt ruft die Berlinale-Familie: Wir wünschen allen Gästen, Künstlern und Machern des 27. TEDDY AWARDs bewegende Momente – und Wogen der Begeisterung. Dieter Kosslick Festivaldirektor der Internationalen Filmfestspiele Berlin 27. TEDDY AWARD / www.teddyaward.tv

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INDEX INTRODUCTION Einleitung Dieter Kosslick P. 3

GREETINGS Grusswort Klaus Wowereit P. 5

JEAN MARAIS Les miroirs sont les portes par lesquelles la mort va et vient. P. 6

RINALDO HOPF This is our family album P. 9

GALA ARTISTS Gala Künstler P. 16

TEDDY AWARD JURY Jury P. 18

FILM PROGRAM GUIDE Filmübersicht P. 19-47

SCHEDULE & VENUES Programm & Adressen P. 31-34

INTERVIEW WITH... Interview mit... Wieland Speck P. 49

TEDDY TOPIC Human Rights Watch LGBT Rights P. 56

TEDDY PARTY ARTISTS DJ’s and Late Night Special P. 60

THANK YOU / CREDITS Dankeschön / Impressum P. 62

4 Kindly supported by Harald Christ


© Senatskanzlei-dpa

from Klaus Wowereit Governing Mayor of Berlin

von Klaus Wowereit Regierender Bürgermeister von Berlin

The TEDDY AWARD is one of the most prominent prizes given to movies and people that deal with queer themes and thereby promote tolerance, acceptance, solidarity, and equality in society. Now a glamorous highlight of Berlin’s cultural calendar and an integral part of the Berlinale, one of the world’s most influential film festivals, the TEDDY AWARD have achieved remarkable international renown since their first presentation in 1987. Their success has encouraged many other film festivals in other countries to be more receptive to queer themes, too – even against political opposition and sometimes in the face of massive repression. The 2013 TEDDY AWARD will be recalling this success story and the significance of icons of the liberation movement – and rightly so. These examples give us all the courage to stay the course. The TEDDY AWARD’s partnership with Human Rights Watch gives the Awards a framework for highlighting the human rights situation of LGBT people worldwide and stands for its political approach – one that will stay on the agenda until homophobic violence and discrimination have been eradicated.

Der TEDDY AWARD gehört zu den wichtigsten Preisen für Filme und Personen, die sich mit queeren Themen auseinandersetzen und auf diese Weise Toleranz, Akzeptanz, Solidarität und Gleichstellung in der Gesellschaft fördern. Als glanzvoller Höhepunkt im Berliner Kulturkalender und als fester Bestandteil der Berlinale, eines der bedeutendsten Filmfestivals der Welt, hat der TEDDY AWARD seit der ersten Verleihung im Jahr 1987 eine beachtliche internationale Ausstrahlung erlangt. Vielen Festivals in anderen Ländern hat der Erfolg des TEDDY AWARD Mut gemacht, sich – auch gegen politische Widerstände und trotz teils massiver Repressionen – für queere Themen zu öffnen. An diese Erfolgsgeschichte und an die Bedeutung von Ikonen der Emanzipationsbewegung erinnert der TEDDY AWARD 2013 zu Recht. Sie machen Mut, den eingeschlagenen Weg entschlossen weiterzugehen. Die Partnerschaft mit Human Rights Watch, in deren Rahmen der TEDDY AWARD die weltweite Menschenrechtslage queerer Menschen beleuchtet, steht exakt für diesen politischen Ansatz, der wichtig ist, solange es homophobe Gewalt und Diskriminierung gibt.

With this in mind, I would like to thank all of the organizers, supporters, and sponsors for their commitment and the jury for their work for these important awards. My sincere congratulations go to all of the winners of the 2013 TEDDY AWARD. And last but not least, I would like to welcome everyone here from abroad for the 2013 TEDDY AWARD to Berlin; I hope the gala audience will enjoy an awards ceremony at Station Berlin that’s as entertaining as it is glamorous. I am certain that this year, too, the TEDDY AWARD will serve as a beacon encouraging others to combat hatred and violence and to work for a tolerant, outward-looking society.

In diesem Sinne danke ich den Veranstaltern sowie allen Unterstützern und Sponsoren für ihr Engagement und der Jury fürs Mitwirken an dieser bedeutenden Preisverleihung. Mein herzlicher Glückwunsch gilt den Preisträgerinnen und Preisträgern des TEDDY AWARD 2013. Und last but not least heiße ich alle internationalen Gäste des TEDDY AWARD 2013 herzlich willkommen in Berlin und wünsche dem Gala-Publikum eine ebenso unterhaltsame wie glanzvolle Preisverleihung in der Station Berlin. Ich bin sicher: Auch in diesem Jahr wird vom TEDDY AWARD ein weithin sichtbares Zeichen der Ermutigung ausgehen, sich für die Überwindung von Hass und Gewalt sowie für eine tolerante und weltoffene Gesellschaft zu engagieren.

27. TEDDY AWARD / www.teddyaward.tv

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Jean Marais (1913-1998)

„Les miroirs sont les portes par lesquelles la mort va et vient.“ by Philipp Schmidt

A man with strong jaws, but smooth features, the eyes closed, the blonde, curly hair combed off his forehead, dearly snuggling up to the cheek of another, the cheek of his own image, his own reflection. An allegory of male narcissism – but also homoerotic intimacy of two equals, of two men. A scene, which has evolved into a classic of cinematic history and diffused into cultural memory. The character was played by Jean Marais in ORPHÈE (1949), a movie by Jean Cocteau, Marais’ longstanding friend, mentor and lover, who made him famous and was his inspirational muse. Together they both, the beauty and the Bohème, created a key scene of the queer Cinema, and Marais’ personification of Orpheus lives on through the work of later following artists: In René Clément’s PLEIN SOLEIL (1960) the talented Mr. Ripley is caressing his own image in the mirror and Pedro Almodovar, an adept of the cinematic quote, is opening LA LEY DEL DESEO (1987) with a shot of Antonio Banderas seducing himself in the mirror. The cover art of The Smith’s Single THIS CHARMING MAN (1983) shows Jean Marais in a filmstill in Cocteau and Marais’ first movie LA BELLE ET LA BÊTE (1946): Marais lays on the floor, his face reflected in a puddle while Morrissey is stating: „It’s gruesome that someone so handsome should care.“ Eventually in 2010 James Franco got inspired to launch a reenactment of the ORPHÈE scene for the collection of classic movie scenes by the New York Times magazine and thus eternalizing it and its initial representative officially in the canon of cinema images. Jean Marais started developing his acting career already before World War II, back then still at the theater. Only after the end of the war he pushed his movie career and became world-renowned for his collaboration with Jean Cocteau, which began with the movies LA BELLE ET LA BÊTE (1946), L’AIGLE À DEUX TÊTES (1947), LES PARENTS TERRIBLES (1948) and ORPHÉE (1949). The actor´s filmic oeuvre furthermore includes appearances in movies like LE CHÂ6 Kindly supported by Harald Christ

TEAU DE VERRE (1950), LE COMTE DE MONTE CHRISTO (1954), ELENA ET LES HOMMES (1956), LE NOTTI BIANCHE (1957), LE TESTAMENT D‘ORPHÉE (1959), LE MASQUE DE FER (1962) and STEALING BEAUTY (1996). One of his most popular works surely is the FANTÔMAS film series (1964-67) and his memorable performance as the futuristically diabolic and world threatening villain and antagonist of inspector Juve, played by Louis de Funés. Throughout his career Marais was filming together with outstanding directors such as Luchino Visconti, Bernardo Bertolucci, René Clément, André Hunebelle, Jean Renoir – and of course Jean Cocteau. Even behind the camera he was dedicated to cinema and became the Jury President of the 35th Berlinale. Jean Marais, that was a French hero of uncounted cloak-and-dagger movies, who performed his stunts himself. He was d`Artagnan and Fantômas, prince and beast in one. – And he was a modern Orpheus, who traveled through a mirror into the land of the dead, to bring his love back to life, while the look at her in the driving mirror, an irreversible moment of desire, destroyed all and banished her in Hades forever. The mirror, in the movie the portal between the mortal world and the beyond, becomes a passage of live and death, between the I and the other. But what happens if this door to the other side remains locked and the mirror only reflects the I and doubles it? Maybe then the love to someone else is also the love to yourself? Or is even the love to someone else not possible without the love to yourself? Is or is this love to someone else not even possible without narcissism? Or is in this expressed what back then was still nameless, the love of a man to another man? – Jean Marais himself becomes a mirror between us and the other side, a portal to the immortal. As this picture has been kept alive in reminiscences, it is, Marais is revealing to us a bygone not yet forgotten world. We wish Jean Marais, the immortal on the other side of the mirror, to his 100th Birthday all the best!


Ein Mann mit markantem Kinn und weichen Gesichtszügen, die Augen geschlossen, das blonde lockige Haar aus der Stirn gekämmt, schmiegt sich inniglich an die Wange eines anderen Mannes, an die Wange seines Abbildes, an sein eigenes Spiegelbild. Ein Sinnbild männlichen Narzissmus – aber auch homoerotischer Intimität zweier Gleicher, zweier Männer. Eine Szene, die zu einem Klassiker der Filmgeschichte avancierte und sich in das kulturelle Gedächtnis einbrannte. Gespielt wurde sie von Jean Marais in ORPHÉE (1949), einem Film von Jean Cocteau, Marais‘ langjährigem Freund, Mentor und Liebhaber, der ihn berühmt machte und dessen inspirierende Muse er war. Gemeinsam erschufen die beiden, der Schöne und der Bohème, eine Schlüsselszene des queeren Kinos – und Marais‘ Orpheus-Verkörperung lebt weiter im Werk der ihm nachfolgenden Künstler: In René Cléments PLEIN SOLEIL (1960) liebkost der talentierte Mr. Ripley sein Abbild im Spiegel und Pedro Almodóvar, ein Meister des filmischen Zitats, eröffnet LA LEY DEL DESEO (1987) mit der Einstellung des sich selbst in einem Spiegel verführenden Antonio Banderas. Das Cover der Single THIS CHARMING MAN (1983) von The Smiths zeigt Jean Marais in einem Filmstill aus Cocteau und Marais‘ erstem gemeinsamen Film LA BELLE ET LA BÊTE (1946): Marais liegt auf dem Boden, sein Gesicht im Wasser einer Pfütze gespiegelt, und Morrissey stellt fest: „It‘s gruesome that someone so handsome should care“. Schließlich ließ sich 2010 James Franco für die Sammlung klassischer Filmszenen des New York Times Magazine zu einem Reenactment der ORPHÉE-Szene anregen und verewigte somit sie und ihren ursprünglichen Verkörperer offiziell im Bilderkanon des Kinos. Seinen Werdegang als Schauspieler begann Jean Marais bereits vor dem zweiten Weltkrieg, damals noch am Theater. Erst nach Kriegsende forcierte er seine Filmkarriere und wurde durch die Zusammenarbeit mit Jean Cocteau, die mit den Werken LA BELLE ET LA BÊTE (1946), L’AIGLE À DEUX TÊTES (1947), LES PARENTS TERRIBLES (1948) und ORPHÉE (1949) begann, weltberühmt. Das filmische Œuvre des französischen Schauspielers umfasst desweiteren Auftritte unter anderem

in LE CHÂTEAU DE VERRE (1950), LE COMTE DE MONTE CHRISTO (1954), ELENA ET LES HOMMES (1956), LE NOTTI BIANCHE (1957), LE TESTAMENT D‘ORPHÉE (1959), LE MASQUE DE FER (1962) und STEALING BEAUTY (1996). Zu seinen populärsten Werken überhaupt zählt zudem die FANTÔMAS-Reihe (1964-67), in der er unvergesslich den futuristisch diabolischen, die Welt bedrohenden Bösewicht und Gegenspieler von Kommisar Juve, gespielt von Louis de Funès, mimt. Marais drehte während seiner Karriere zusammen mit herausragenden Regisseuren wie Luchino Visconti, Bernardo Bertolucci, René Clément, André Hunebelle, Jean Renoir – und natürlich Jean Cocteau. Doch auch hinter der Kamera engagierte er sich und war 1985 Jurypräsident der 35. Berlinale. Jean Marais, das war ein französischer Held zahlreicher Mantel- und Degenfilme, der seine Stunts selber drehte. Er war d‘Artagnan und Fantômas, Prinz und Biest zugleich. – Und Jean Marais war ein moderner Orpheus, der durch einen Spiegel ins Land der Toten reist, um seine Liebe zurück ins Leben zu holen, während der Blick in den Rückspiegel des Autos auf seine Geliebte, ein unumkehrbarer Moment der Sehnsucht, alles zerstört und sie auf ewig in den Hades verbannt. Der Spiegel, im Film das Portal zwischen Diesseits und Jenseits, wird zum Übergangsort von Leben und Tod, zwischen dem Ich und dem Anderen. Doch was geschieht, wenn die Tür zur anderen Seite verschlossen bleibt und der Spiegel nur das Ich reflektiert, es doppelt? Vielleicht ist die Liebe zum Anderen dann auch immer die Liebe zu sich selbst? Ist gar die Liebe zum Anderen nicht möglich ohne diese Selbstliebe? Ist der Narzissmus zugleich auch immer die Liebe zu einem Anderen? Oder wird hierin das damals noch Unsagbare dargestellt, die Liebe eines Mannes zu einem anderen Mann? – Jean Marais selbst wird zum Spiegel zwischen uns und der anderen Seite, zu einem Portal zu den Unsterblichen. Dadurch, dass dieses Bild in Reminiszenzen lebendig gehalten wird, eröffnet sich uns, eröffnet uns Marais eine vergangene, jedoch nicht vergessene, Welt. Zum 100. Geburtstag wünschen wir Jean Marais, dem Unsterblichen auf der anderen Seite des Spiegels, alles Gute!

Jean Cocteau (1889-1963) „Il n’y a pas d’amour, il n’y a que des preuves d’amour.” The French writer, painter and movie maker Jean Cocteau published his first poetry collection at the age of 19. He soon became wellknown throughout the Bohemian circles in Paris and associated among others with Marcel Proust, André Gide, Pablo Picasso, and Edith Piaf, who he also wrote a stage play for. In 1950, Jean-Pierre Melville adapted Cocteau’s famous novel LES ENFANTS TERRIBLES (1929) for the screen. In his literary work, Cocteau explores feelings, concerns and human communication. His avant-garde films took a key role in the renewal of French cinema. In 1955, he became a member of the Académie française. Cocteau had love affairs with both women and men and he made no secret of that. His longest relationship was with the actor Jean Marais, who played the leading role in his movies LA BELLE ET LA BÊTE (1946) and ORPHÉE (1949). Der französische Schriftsteller, Maler und Filmemacher Jean Cocteau veröffentlichte seine erste Gedichtsammlung im Alter von 19 Jahren. Schnell wurde er in den Bohème-Kreisen von Paris bekannt und verkehrte u.a. mit Marcel Proust, André Gide, Pablo Picasso und Edith Piaf, für die er auch ein Theaterstück verfasste. Cocteaus berühmtester Roman LES ENFANT TERRIBLE (1929) wurde 1950 von Jean-Pierre Melville verfilmt. In seinem literarischen Werk erkundet Cocteau Gefühle, Belange und menschliche Kommunikation. Seine avantgardistischen Filme nahmen eine Schlüsselrolle in der Erneuerung des französischen Kinos ein. 1955 wurde er Mitglied der Académie francaise. Sowohl zu Frauen als auch zu Männern unterhielt Cocteau Liebesbeziehungen und ging damit offen um. Sein längstes Verhältnis führte er dabei mit dem Schauspieler Jean Marais, der die Hauptrolle in seinen Filmen LA BELLE ET LA BÊTE (1946) und ORPHÉE (1949) spielte.

27. TEDDY AWARD / www.teddyaward.tv

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8 Kindly supported by Harald Christ


This is our family album From Dietrich to Divine, Tom of Finland to James Baldwin, and Mishima to Mapplethorpe; artist Rinaldo Hopf offers us his pantheon of queer accomplishment. Writers, artists, filmmakers, actors, composers, choreographers, rock stars und fashion designers are celebrated. So are fags, dykes, bi-sexuals, cross dressers, boy lovers, closet cases and BIG QUEERS. The vocabulary gets tricky and anachronistic because Hopf’s project encompasses 100 portraits – from which these 32 postcards are drawn – whose subjects span not only myriad cultures but centuries; 26 separate Sappho from Jimmy Somerville. Hopf paints his iconic figures, youthful and handsome, in gold, on screen-printed, blackand-white backgrounds, which feature a portrait-grid of 36 notable queers. (You may have trouble recognizing Socrates but probably not the elegant profile of Virginia Woolf.) In the grid’s upper right corner Andy Warhol meets our gaze. The Prince of Pop inspired Golden Queers, in most of its particulars, as Hopf points out. Warholesque elements include its screen-printed grid, its gilded aspects, its homage to celebrity and accomplishment, its taxonomic division of society into groups. This is, in fact, the series Warhol would have liked to have made – if he were 25 years younger or more openly gay. But while history allows us only the possibilities of our moment, golden icons were once created to transcend time and physical existence. These GOLDEN QUEERS matter passionately to Hopf, as they should to us. This is our family album.

by Robert Atkins, New York, 1998

Von der Dietrich bis Divine, von Tom of Finland bis James Baldwin, von Mishima bis Mapplethorpe bietet Rinaldo Hopf uns sein Pantheon talentierter Queers: SchriftstellerInnen, KünstlerInnen, RegisseurInnen, SchauspielerInnen, KomponistInnen, ChoreographInnen, Popstars und ModeschöpferInnen. Gefeiert werden Schwule, Lesben, Bisexuelle, Transvestiten, Knabenliebhaber, die closetqueens und die ganz großen QUEERS. Die Begriffe werden knifflig und anachronistisch, weil Hopfs Projekt aus 100 Portraits besteht, wobei die Dargestellten nicht nur zahllose Kulturen, sondern auch viele Jahrhunderte überspannen, 26 liegen zwischen Sappho und Jimmy Somerville. Hopf malt seine Ikonen – jugendlich und schön – mit Ölfarbe auf Blattgold vor einen schwarz-weißen Hintergrund in Siebdrucktechnik, auf dem insgesamt 36 berühmte Queers ein Schachbrettmuster bilden. (Socrates ist vermutlich nicht so leicht zu erkennen wie Virginia Woolf mit ihrem eleganten Profil). Unser Blick trifft in der oberen rechten Ecke des Hintergrunds auf Andy Warhol. Der Prince of Pop hat die GOLDEN QUEERS in vielerlei Hinsicht inspiriert, wie Hopf erläutert. Zu den warholesquen Elementen gehören der gedruckte Hintergrund, die Vergoldung, die Hommage an Berühmtheit und Talent und die Klassifizierung der Gesellschaft in Gruppen. Diese Serie hätte Warhol – wenn er 25 Jahre jünger und ein bisschen offener schwul gewesen wäre – sicher liebend gern gemacht. Aber obwohl uns die Geschichte nur die Möglichkeiten unseres Augenblicks eröffnet, sind einst die goldenen Ikonen geschaffen worden, um Zeit und Sein zu transzendieren. Die GOLDEN QUEERS sind Hopf so leidenschaftlich wichtig, wie sie für uns sein sollten. Das ist unser Familienalbum. 27. TEDDY AWARD / www.teddyaward.tv

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RINALDO HOPF hails from Freiburg, West Germany. He studied art, cultural anthropology and religions i.a. in San Francisco. Rinaldo lives in Berlin as a painter and photographer and is coeditor of the anthology “My gay gaze”. His ongoing project GOLDEN QUEERS started in 1998. It is constantly growing and is featured internationally in exhibitions and publications. www.rinaldohopf.com

Rinaldo Hopf © Fox

RINALDO HOPF wurde in Freiburg geboren und studierte Kunst, Ethnologie und Religionswissenschaften u.a. in San Francisco. Er lebt als Maler und Fotograf in Berlin und ist Mitherausgeber der Anthologie „Mein schwules Auge“. Sein Projekt GOLDEN QUEERS begann 1998 und wird seither ständig erweitert und in internationalen Ausstellungen und Publikationen gezeigt. www.rinaldohopf.com

10 Kindly supported by Harald Christ


27. TEDDY AWARD / www.teddyaward.tv

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Greta Garbo (1905-1990) „I want to be alone.” Swedish-born Greta Garbo (her real name is Greta Lovisa Gustafsson) became one of the most well-known female Hollywood movie legends through her tragic female parts in the 1920s and 1930s. She made her movie debut in 1922 in LUFFAR-PETTER, while she made the international breakthrough with Mauritz Stiller’s GÖSTA BERLINGS SAGA (1924). Later, Garbo played the leading role in classics such as ANNA KARENINA (1927), MATA HARI (1931), and QUEEN CHRISTINA (1933). She worked together with Hollywood stars such as Clark Gable, Ernst Lubitsch, and Billy Wilder. Greta Garbo had love affairs with both men, including John Gilbert and Erich Maria Remarque, and women, including Louise Brooks and Lilyan Tashman. In the movie GRAND HOTEL (1932) she spoke her most famous sentence: “I want to be alone.” – After 1942, she gave up her Hollywood career and led a secluded life in New York and convents in Switzerland. Die gebürtige Schwedin Greta Garbo, bürgerl. Greta Lovisa Gustafsson, wurde durch ihre tragischen Frauenrollen in den 1920er und 30er Jahren zu einer der größten weiblichen Filmlegenden Hollywoods. Ihr Spielfilmdebüt feierte sie 1922 in LUFFAR-PETTER, während ihr mit Mauritz Stillers GÖSTA BERLINGS SAGA (1924) der internationale Durchbruch gelang. Die Garbo hatte später Hauptrollen in Klassikern wie ANNA KARENINA (1927), MATA HARI (1931) und QUEEN CHRISTINA (1933), sie arbeitete zusammen mit Hollywoodstars wie Clark Gable, Ernst Lubitsch und Billy Wilder. Greta Garbo hatte sowohl Liebesaffären mit Männern, u.a. John Gilbert und Erich Maria Remarque, als auch mit Frauen, u.a. Louise Brooks und Lilyan Tashman. In dem Film GRAND HOTEL (1932) sprach sie ihren wohl berühmtesten Satz: „I want to be alone.» - Nach 1942 gab sie ihre Hollywoodkarriere auf und lebte zurückgezogen in New York und Klöstern in der Schweiz.

James Baldwin (1924-1987) „I’m a writer. I like doing things alone.” The American writer James Baldwin, who grew up in Harlem,started writing at the age of 15. After school and following his coming-out, he was disillusioned by the prejudice against People of Colour and homosexuals and left the USA to move to Paris. In 1953, his first and so far most famous book, the semi-autobiographic coming-of-age novel GO TELL IT TO THE MOUNTAIN (1955) was published. In his work, especially in his novella GIOVANNI’S ROOM (1956), Baldwin explores the issues of complex social and psychological problems on an individual and social level of both POCs and homosexuals. Baldwin also supported human rights publicly and held an ideological position, which stood between the radical approach of Malcolm X and the non-violent programme of Martin Luther King Jr, who were both close friends of him. Der in Harlem aufgewachsene amerikanische Schriftsteller James Baldwin begann im Alter von 15 Jahren zu schreiben. Nach seiner Schulzeit und seinem Coming-out verließ er, durch die Vorurteile gegen People of Colour und Homosexuelle desillusioniert, die USA und zog nach Paris. 1953 wurde sein erstes und bis heute bekanntestes Buch, der semi-autobiographische Bildungsroman GO TELL IT TO THE MOUNTAIN (1955), veröffentlicht. In seinem Werk, vor allem in der Novelle GIOVANNI‘S ROOM (1956), thematisiert Baldwin komplexe soziale und psychologische Probleme auf individueller und gesellschaftlicher Ebene sowohl von POCs als auch von Homosexuellen. Auch setzte Baldwin sich öffentlich für Menschenrechte ein und vertrat eine ideologische Position, die zwischen dem radikalen Ansatz von Malcom X und dem gewaltlosen Programm von Martin Luther King Jr. stand – die er beide zu seinen persönlichen Freunden zählte.

12 Kindly supported by Harald Christ


Divine (1945-1988) „I think I’ve always been respectable.” American actor, singer and drag performer Divine, whose civil name was Harris Glenn Milstead, was described as “Drag Queen of the Century” by the famous People Magazine in 1988. His career began when he met John Waters in the 1960s. Both were working together in over ten movies, including MONDO TRASHO (1969) and PINK FLAMINGOS (1972). Later, Divine also worked together with other directors and played a role in HAIRSPRAY (1988) among others. His performances were wacky, different and radical and a sign for the fight for freedom and self-determination. Besides, Divine intensified his career as a singer in the 1980s and was very successful with disco hits like I’M SO BEAUTIFUL (1984). In 1988, Divine died of a heart attack resulting from his enormous overweight. After his death, he became a cult figure of the queer community more than he had ever been before. Der amerikanische Schauspieler, Sänger und Drag-Performer Divine, bürgerl. Harris Glenn Milstead, wurde 1988 vom renommierten People Magazine als „Drag Queen of the Century“ beschrieben. Seine Karriere begann, als er in der 60er Jahren mit John Waters in Kontakt kam. Die beiden arbeiteten für mehr als 10 Filme zusammen, darunter queer independent Kultklassiker wie MONDO TRASHO (1969) und PINK FLAMINGOS (1972). Später arbeitete Divine auch mit anderen Regisseuren zusammen und war u.a. in HAIRSPRAY (1988) zu sehen. Seine Auftritte waren schräg, anders und radikal und Zeichen eines Kampfes für Freiheit und Selbstbestimmung. Zudem forcierte Divine in den 80er Jahren seine Karriere als Sänger und feierte Erfolge mit Discohits wie I’M SO BEAUTIFUL (1984). 1988 starb Divine an einem Herzinfarkt infolge schweren Übergewichts. Nach seinem Tod wurde er mehr denn je zu einer Kultfigur der queeren Gemeinde.

27. TEDDY AWARD / www.teddyaward.tv

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James Byron Dean (1931-1955) „Dream as if you'll live forever. Live as if you'll die today.“ The American actor James Dean had his first TV appearance in a commercial for Pepsi Cola in 1950. After that, he left college and began to focus on his acting career. He played his first leading role in the movie EAST OF EDEN (1955). In the same year, he was the protagonist in Nicholas Ray’s REBEL WITHOUT A CAUSE (1955) and made GIANT (1956). The premiere of the film, however, took place only after his death. Although James Dean had only played three big film parts in his life, he became an unforgettable idol of teenage disillusion. His early death caused by a car accident even boosted his cult status. After his early death, which was surrounded by many myths, there were also frequent debates about Dean’s sexuality. Many biographers – among them his friend and confident William Bast – say that James Dean was homo- or bisexual. Der amerikanische Schauspieler James Dean hatte seinen ersten Fernsehauftritt in einem Werbespot für Pepsi Cola 1950. Anschließend verließ er das Kollege und begann sich auf seine Schauspielkarriere zu konzentrieren. Seine erste Hauptrolle spielte er in dem Film EAST OF EDEN (1955). Im selben Jahr war er Protagonist in Nicholas Rays REBEL WITHOUT A CAUSE (1955) und drehte GIANT (1956), der jedoch erst nach seinem Tod Premiere hatte. Obwohl James Dean in seinem Leben nur drei großen Filmrollen spielte, wurde er zu einem unvergessenen Idol jugendlicher Desillusion. Sein früher Tod in einem Autounfall festigte dabei seinen Kultstatus. Nach seinem jungen und mythenumrankten Ableben kam es immer wieder zu Debatten über Deans Sexualität, so berichten mehrere Biographen, darunter sein enger Vertrauter und Freund William Bast, dass James Dean homooder bisexuell war.

14 Kindly supported by Harald Christ


Virginia Woolf (1882-1941) „A woman must have money and a room of her own if she is to write fiction.” The British writer Virginia Woolf is one of the most important authors of the 20th century, who became a symbolic figure of the feminist movement. JACOB’S ROOM (1922) is considered as her first experimental novel in which she works with an impressionist-pointillist style and starts to expand the inner monologue to a stream of consciousness. She refined this literary technique in MRS DALLOWAY (1925). In her essay A ROOM OF ONE’S OWN (1929) she stands up for women’s right of self-determination and independence. In addition to her literary activities, she was a member of the influential Bloomsbury Group, which discussed not only literature and art, but also social topics such as feminism and sexuality. In 1912, she married Leonard Woolf, however, she had an affair with Vita Sackville-West that went on over several years. Virginia Woolf suffered from depressions over a long time and committed suicide in 1941. Die Engländerin Virginia Woolf gehört zu den bedeutendsten Schriftstellerinnen des 20. Jahrhunderts und wurde zu einer Symbolfigur der Frauenbewegung. JACOB’S ROOM (1922) gilt als ihr erster experimenteller Roman, in dem sie mit einem impressionistisch-pointilistischen Stil arbeitet und beginnt den inneren Monolog zu einem Bewusstseinsstrom auszubauen. Diese literarische Technik entwickelte sie in MRS DALLOWAY (1925) weiter. In ihrem Essay A ROOM OF ONE’S OWN (1929) tritt sie für das Recht der Frau auf Selbstbestimmung und Unabhängigkeit ein. Neben ihrer literarischen Tätigkeit war sie Mitglied der einflussreichen Bloomsbury Group, die sowohl Literatur und Kunst als auch gesellschaftliche Themen wie Feminismus und Sexualität debattierte. 1912 heiratete sie Leonard Woolf, hatte jedoch eine mehrjährige Affäre mit Vita Sackville-West. Lange Zeit litt Virginia Woolf und Depressionen und nahm sich 1941 das Leben.

Prinz Manvendra Singh Gohil (*1965) „Now, people accept me.” Prince Manvendra Singh Gohil is the first son of the maharajah of the former kingdom of Rajpipla in India. He studied economics in Mumbai and then got married to a woman. After their divorce in 2002, he had a nervous breakdown. In 2006, Gohil gave an interview in which he had his coming-out. As a result, he became the first and so far only person of royal descent in India who has made his homosexuality public. After his coming-out, his parents wanted to disinherit him, but this was impossible because of the legal situation in the country. Meanwhile, he and his family have reconciled with one another. So, in 2008, on the occasion of a public royal celebration, he announced his plans of adopting a child. He uses his popularity, which he has gained through appearances at the Oprah Winfrey Show among many others, in order to support the rights of homosexuals and education about the risks of HIV/AIDS. Prinz Manvendra Singh Gohil ist der erste Sohn des Maharajas des ehemaligen Königreichs Rajpipla in Indien. Er absolvierte ein Studium der Wirtschaftswissenschaften in Mumbai und heiratete anschließend eine Frau. Nach der Scheidung erlebte er 2002 einen Nervenzusammenbruch. 2006 gab Gohil ein Interview, in dem er sich outete. Dadurch wurde er zur ersten – und bislang einzigen – Person königlicher Abstammung in Indien, die ihre Homosexualität öffentlich machte. Seine Eltern wollten ihn anschließend enterben, dies war aufgrund der Gesetzeslage jedoch nicht möglich. Mittlerweile ist er mit seiner Familie wieder versöhnt und gab 2008 bei einer öffentlichen royalen Feier bekannt, dass er plane, ein Kind zu adoptieren. Seine Popularität, die er durch Auftritte unter anderem bei Oprah Winfrey erlangte, nutzt der Prinz, um sich für die Rechte von Homosexuellen und die Aufklärung über die Gefahren von HIV/AIDS einzusetzen.

27. TEDDY AWARD / www.teddyaward.tv

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HOST Jochen Schropp

© VOX/Stephan Pick

Den Schauspieler und Moderator Jochen Schropp kennen wir aus der erfolgreichen Fernsehsendung X-Factor. 2011 hat Jochen Schropp für seine Moderation den Bayrischer Fernsehpreis erhalten. 2010 und 2011 war er für den Deutschen Fernsehpreis als bester Entertainer nominiert, 2007 für den Grimme-Preis. Neben vielen anderen Fernsehauftritten ist er auch der Pathologe Dr. Stabroth beim Polizeiruf 110 aus Halle.

LAING

© Universal Music

LAING ist chinesisch für “Heißer Scheiß der dir ab jetzt am Schuh klebt“ oder: 3 junge Sängerinnen und eine Tänzerin treten gegen die deutsche Popmusik an. Reduzierte elektronische Beats, drei wundervolle Frauenstimmen in ausgeklügelten Arrangements und deutsche Texte mit gleichen Anteilen an Rotz und Poesie verbinden sich bei LAING zu Musik, die anders ist als alles, was man aus Deutschland sonst gewohnt ist.

Rufus Wainwright

Katharine Mehrling Katharine Mehrling arbeitet als Schauspielerin, Sängerin und Songschreiberin. Ihr Bühnendebüt gab sie im Londoner West End im renommierten Old Vic Theatre. Noch während ihrer Ausbildung engagierte sie der Regisseur Michael Bogdanov, als einzige Deutsche, für die Revivalproduktion von HAIR. Internationale Aufmerksamkeit erregte Katharine Mehrling als PIAF. In drei verschiedenen Inszenierungen verkörperte sie Edith Piaf. Um diese Figur in all ihren Facetten zu erspüren, lebte sie in Paris, begab sich auf eine Zeitreise und folgte den Spuren von Piaf. Katharine Mehrling überzeugt mit Stimmgewalt und schauspielerischen Talent auf internationalen Niveau. Ausgezeichnet wurde sie mit dem Preis des Deutschen Bühnenvereins, 2010 erhielt sie den Theaterpreis Goldener Vorhang und 2012 den Lale-Andersen-Preis.

Imany

© Universal Music

Ursprünglich stammt Imany, die bürgerlich Nadia Mladjao heißt, von den Komoren, einem Inselstaat zwischen Mosambik und Madagaskar, aufgewachsen ist sie in der Pariser Vorstadt. Ihr warmer Afrosoul-Folk-Pop erinnert an kantige, charakterstarke Diven wie Erykah Badu und Lauryn Hill. Stimmlich fühlt man sich von Imany des Öfteren an die junge Tracy Chapman und ihre Welthits aus den Achtzigern erinnert. Bereits in ihrer Zeit in New York begann Imany, Songs zu schreiben. In Paris nahm sie dann der senegalesische Produzent Malick N’Diaye unter seine Fittiche und verschaffte ihr Auftrittsmöglichkeiten und Zugang zur Musikszene. Bei den Aufnahmen für ihr Debütalbum unterstützten Imany namhafte französische Musiker wie Laurent Vernerey (Benjamin Biolay, Johnny Hallyday), die erfolgreiche französische Pop-Chanson-Sängerin Zaz nahm sie mit auf Tour. Kein Wunder, dass “The Shape Of A Broken Heart” ein voller Erfolg wurde, in Frankreich erreichte die Platte bereits Platinstatus.

Base Berlin BASE BERLIN ist die Plattform junger selbstständiger Kreativer aus den Bereichen Artistik, Schauspiel, Tanz und Fotografie. 2008 wurde BASE in Berlin gegründet und versteht sich als Art-Pool einer neuen Generation Künstler und Artisten. In Zusammenarbeit mit Choreographen, Regisseuren, Bühnenbildnern und Fotografen entstehen neue Darbietungen und Shows. Durch das hohe kreative Potential beeinflussten Künstler von BASE BERLIN schnell die internationale Artistikszene. Artisten, die sich bei BASE entwickelt und geformt haben, sind inzwischen auf allen großen Festivals, wie z.B. dem Cirque du Demain in Paris, vertreten und machen als Preisträger auf sich aufmerksam.

16 Kindly supported by Harald Christ

© Jim Rakete

© Barry J. Holmes

Rufus Wainwright bezaubert mit elegischen Pianoballaden, verquickt aber auch poppige Melodien mit klassischen Opernelementen und orientiert sich an Messgesängen. Er wurde bekannt durch Soundtrack-Beiträge zu „Bridget Jones“ und „The Aviator“. Rufus Wainwright erhielt für sein Debütalbum den Gay/Lesbian American Music Award. 2009 war er für die Grammy Awards in der Kategorie „Best Traditional Pop Vocal Album“ nominiert. Im April 2012 erschien sein neuestes Album „Out of the Game“. Zu schmachtenden Chören und E-Gitarren-Soli singt er Lieder, die in ihrer blühenden Pracht an die kitschigeren Momente des Mainstreams erinnern: Chicago, Stephen Bishop, Queen, Supertramp.


27. TEDDY AWARD / www.teddyaward.tv

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BENOÎT ARNULF is the founder of the Nice LGBTI Film Festival „D’un genre à l’autre“ and of the Film Festival „In&Out“, for which he also serves as the artistic director. He studied History and Comparative Cultural Studies and fights for LGBTI-rights in several associations.

DILCIA BARRERA is a film programmer for AFI FEST, the American Film Institute’s annual celebration of international cinema from modern masters and emerging filmmakers. Additionally, she works as an associate programmer for The Philadelphia Film Festival and a screener for the Sundance Institute Documentary Film Program and Fund. Prior to being a programmer, she gained experience working in various film festivals including Sundance Film Festival, Outfest Film Festival and The Los Angeles Film Festival.

GERJO PÉREZ MELIÁ is the director of the International Lesbian, Gay and Transsexual Film Festival of Madrid “LesGaiCinemad”. He was one of the creators of the CineLGBTI Network, a large network of cooperation and culture which comes through its member festivals to over 40 Latin American cities in 17 countries and has 55,000 viewers annually. He has been part of several International Film Festivals juries and has also lectured at numerous conferences, courses and seminars in Spain and Latin America.

JOHANNA HAKANEN works at the Finnish LGBTI Film Festival Vinokino, Finland’s only festival that screens exclusively gender and sexual minority films. She has been working there as a programmer since 2006. 2013 will be Vinokino’s 22nd year. She also arranges the program for Helsinki Pride’s film events. Hakanen studied business and cultural management and works as a freelance-producer.

KATJA BRIESEMEISTER is a program coordinator at the International Queer Film Festival “Lesbisch Schwule Filmtage Hamburg” since 2009. After she studied Social Sience she graduated in Visual Communications (focused on film) at the University of Visual Arts Hamburg. Briesemeister lives and works in Hamburg.

LJOSHA CHASHCHYN joined „Molodist” the Kyiv International Film Festival as the foreign press coordinator and assistant of the festival director Andriy Khalpakhchi in 2006. In 2007 he became the coordinator of “Sunny Bunny” – the festival’s queer film program and Ukraine’s main LGBTI cultural event. He is currently involved in TV production and organizing “Sunny Bunny 2013” that will take place in Kyiv on October 19-27.

MARTHA ARREDONDO is a member of the organizing committee of the LGBTI Film Festival in the Dominican Republic: “The Santo Domingo OutFest”. Furthermore she works for radio programs dedicated to movies and critics and she writes for the FILMMAKER magazine, which is the only magazine for cinema in the Dominican Republic. She is consistently part of juries, amongst others the LGBTI Film Festival in Madrid 2011 and Short Film Festivals in the Dominican Republic.

PAVEL CORTÉS is the director and program manager of “Premio Maguey”, the first Queer Award of the Guadalajara International Film Festival in México. Graduated in Audiovisual Arts, he is currently working on his Master’s degree in Cinematographic Studies  with a specialization in Screenwriting. For the past seven years, he has been working as a producer and director for independent documentaries, which have been screened internationally.

SOPHIE SHU-YI LIN is a long time participant in the women’s rights movement and women’s cinema in Taiwan. She is also a board member of Taiwan’s „Women Make Waves” Film Festival since 1997, for which she accounted as the festival director/programmer in the years 1998-99 and 2007-12. Lin also worked as a guest programmer for different festivals including the Beijing Queer Film Festival and the Kaohsiung International Film Festival. She is now a PhD candidate at King’s College London.

18 Kindly supported by Harald Christ


27. TEDDY AWARD / www.teddyaward.tv

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A MIDSUMMER NIGHT’S DREAM

BAEK YA WHITE NIGHT

BOVEN IS HET STIL IT’S ALL SO QUIET

DIRECTOR Max Reinhardt, William Dieterle CAST Dick Powell, Olivia de Havilland, James Cagney RETROSPEKTIVE USA 1935, 117’, English

DIRECTOR LeeSong Hee-il CAST Won Tae-hee, Yi Yi-kyung, Hyun Sung PANORAMA Republic of Korea 2012, 75’ Korean/English ST

DIRECTOR Nanouk Leopold CAST Jeroen Willems, Henri Garcin, Wim Opbrouck PANORAMA SPECIAL Netherlands/Germany 2013 94’, Dutch/English ST

14.02. / 13:30 CinemaxX 8

10.02. / 22:30 Colosseum 1 13.02. / 21:30 CinemaxX 7 (Premiere)

08.02. / 18:00 Friedrichstadt-Palast (Premiere)

16.02. / 18:00 Zeughauskino

14.02. / 22:45 CineStar 3 15.02. / 20:15 Cubix 7 & 8

09.02. / 10:00 CinemaxX 7 10.02. / 17:00 Cubix 9

Shakespeare’s most popular comedy is a merrygo-round of young lovers and supernatural wood sprites. An extravaganza of Hollywood stars and fantastic special effects by Max Reinhardt, the ‘great magician’ of the Deutsches Theater in Berlin.

20 Kindly supported by Harald Christ

© Victor Arnolds

© Warner Bros/Park Circus

11.02. / 14:00 Kino International

Won-Gyu is a flight attendant and is constantly in transit. Anonymous hotel rooms are all the home he knows. Tae-Jun is a motorbike courier who spends almost all his time on the streets. Two men with two jobs that keep them on the move. Two lifes that are just a series of fleeting moments. Having clicked on the internet they arrange to meet in Seoul. But they only have a few hours. Won-Gyu never wanted to return to the city because Seoul reminds him of an event that has left him sad and angry. His past casts a long shadow over their date, and their night together is pitch-black in spite of the big city lights. Since they must soon part again, both are afraid to get too close and a strange power game begins. Tae-Jun joins his new friend as he sets out in search of something. They go to a place that was once the site of a brutal attack on gays. Baek-Ya is an urban odyssey through a city, pervaded by anger and longing, in which not everyone can live their life and experience love. But for one brief but beautiful moment this film allows these two simply to be together.

Helmer is 55 and a bachelor. He tends a remote farm and looks after his ailing father. Theirs is a brittle, tight-lipped relationship. When his father moves ever closer towards the grave, Helmer shifts him upstairs. He then clears out all the junk from the ground floor, throws the house plants on the dung heap, orders a new bed, and begins to live a life of his own. From time to time, Ada from the neighbouring farm drops in with her sons, and the milk truck driver regularly seeks Helmer’s company – but Helmer withdraws into his own world. He paints his late brother’s room and moves in Henk, an eighteen-year-old farmhand. These steps are all undertaken to make a stand against his father. But his father’s unfulfilled expectations continue to hinder Helmer’s emotional well-being. Henk, however, responds to Helmer’s clouded feelings with fond openness. And the milk truck driver can’t seem to forget Helmer either. In her latest film, Nanouk Leopold weaves soberly observational but impressive images into a persistently quiet atmosphere that illuminates her protagonist’s emotional world and his breakthrough into a new self-confidence.


CHEMI SABNIS NAKETSI A FOLD IN MY BLANKET

CABARET DIRECTOR Bob Fosse CAST Liza Minnelli, Michael York, Helmut Griem BERLINALE CLASSICS USA 1972, 124’ English 09.02. / 11:00 Kino International

DIRECTOR Zaza Rusadze CAST Tornike Bziava, Tornike Gogrichiani, Giorgi Nakashidze PANORAMA Georgia 2013, 75’ Georgian/Russian/English ST 07.02. / 21:00 CinemaxX 7 (Premiere)

CONCUSSION DIRECTOR Stacie Passon CAST Robin Weigert, Julie Fain Lawrence, Maggie Siff PANORAMA USA 2012, 93’, English/Without ST

08.02. / 20:15 CineStar 3 09.02. / 22:30 Cubix 7 & 8

12.02. / 21:30 CinemaxX 7 (Premiere) 13.02. / 22:45 CineStar 3

10.02. / 14:00 Kino International 12.02. / 17:45 CineStar 3

14.02. / 17:45 CineStar 3 / 22:30 Colosseum 1

In early 1930s Berlin, aspiring writer Brian Roberts falls in love with honky-tonk singer Sally Bowles. The ex-pat American with her zest for life takes the uptight British academic on a merry tour of the nightlife of a capital city already abounding with the aggressive presence of the Nazis. The relationship is tested when they meet rich aristocrat Max and Sally begins an affair with him. But she’s not the only one ... This film version of the Broadway musical won eight Oscars. Based on Christopher Isherwood’s ”Berlin Stories”, Cabaret’s portrayal of a disreputable, promiscuous and decadent milieu was to set the international style for depictions of pre-war Berlin. Associate producer Harold Nebenzal, who was born 1922 in Berlin and emigrated in 1933 with his father, producer Seymour Nebenzal, has a voice-over ‘cameo’ as a radio announcer. Nebenzal was later to evoke the milieu and historical background of the film in his brilliantly written thriller ”Cafe Berlin” (1992), the story of a Jewish nightclub owner who survives the Nazis. The film will be introduced by Harold Nebenzal.

© David Kruta

© Walt Disney Studios

17.02. / 22:30 Colosseum 1

Dimitrij loves going off on solo climbing expeditions. He’ll do anything to escape the gruellingly surreal conformity of the small Georgian town he lives in and the monotony of the courthouse where he works. His father, the judge, presides over the courthouse with the same despotic manner he rules the dinner table at home. A man hands out faded flags in the neighbourhood; an aunt suffering from Alzheimer’s is convinced her brother-inlaw has robbed her; and people come together on dreary afternoons to kill time eating cake, pouring forth monologues and listening to operatic arias. One day, a stranger named Andrej turns up and Dimitrij convinces him to accompany him on his climbing expeditions. He pulls Andrei ever closer into his world, determined to befriend him. But then Andrej disappears. Dimitrij believes all is lost before his imagination persuades him to pursue a series of mysterious leads. Zaza Rusadze’s film is an oppressively atmospheric portrait of a small town community caught up in the treadmill of habit. With magical images illustrating the central character’s vivid imagination, this assured work casually reveals the protagonist’s emotional world.

42-year-old Abby is married, well-heeled and a lesbian. She and her wife have two children – they are the perfect family. Then one day she sustains a head injury from a baseball whilst playing with her children and, all at once, her neatly arranged balance of gym, school, family and housework goes awry: ”I don’t want this!” is her desperate mantra as she is taken to hospital. She embarks upon a renovation project in the nearby city and, before long, puts both her tidy suburban home and her preordained existence behind her. After twice having sex with prostitutes she too begins working – servicing women only, of course – for probably the most unlikely madam in cinema history. Welcome to new New Queer Cinema where the women are getting older and the topics more grown-up and less cluttered – or perhaps not? Stacie Passon’s first full-length feature is produced by Rose Troche, director of Go Fish, a lesbian classic of New Queer Cinema which won the 1994 Teddy Award. Theirs is a productive collaboration, as Passon’s reciprocal role as producer of Troche’s latest short demonstrates; it also bodes well for future joint projects.

27. TEDDY AWARD / www.teddyaward.tv

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DESHORA BELATED

ECHOLOT

FIRST A GIRL

DIRECTOR Bárbara Sarasola-Day CAST Luís Ziembrowski, Alejandro Buitrago, María Ucedo PANORAMA Argentina/Colombia/Norway 2013 102’, Spanish/English ST

DIRECTOR Athanasios Karanikolas CAST Martin Aselmann, Henning Bosse, Bettina Burchard FORUM Germany 2013, 77’, German/English ST

DIRECTOR Victor Saville CAST Jessie Matthews, Sonnie Hale, Anna Lee RETROSPEKTIVE United Kingdom 1935, 92’ English/Without ST

11.02. / 19:30 CinemaxX 6 12.02. / 21:30 Delphi-Filmpalast

15.02. / 21:00 Zeughauskino

11.02. / 20:15 Cubix 7 & 8 15.02. / 19:00 CinemaxX 7

14.02. / 21:30 CineStar 8 16.02. / 17:30 Kino Arsenal 1

16.02. / 11:30 CinemaxX 8

16.02. / 20:15 Cubix 7

17.02. / 20:00 Colosseum 1

Heavy clouds hang over the tobacco fields in the mountainous jungle of north western Argentina. Here, far from the big city, live Ernesto and Helena. They long to have children, but their passion is spent. One day, Helena’s cousin Joaquín arrives. He has just gone through detox and his mother has banished him to this remote place for rehabilitation. Although they all keep to themselves, the young man’s presence brings life to their marriage. An atmosphere begins to develop that nobody can control. Although Helena rebuffs Joaquín’s advances, she develops a desire for the young man’s physicality which she secretly nurtures. Meanwhile, Joaquín and Ernesto explore the wilderness around them, go hunting in the woods, tend the fields and attend cockfights, all the time growing closer to each other than they would care to admit. They all deny their emotions and the physical attraction they feel for each other. But unfulfilled passions find unpredictable ways of getting what they want.

A clique gathers in a house in the country to hold its own personal funeral ceremony for a friend who has committed suicide. It’s not unusual for extreme situations to lure people out of their shells. In this case, the suicide prompts them to switch off for a while; this weekend at least, these young people are no longer thinking about tomorrow. Instead, they surrender entirely to the moment and give their feelings free reign. They dance, love, argue, drink, go for walks, or take naps. But they also remember their dead friend, who is present in all their thoughts and conversations. Athanasios Karanikolas’ experience as a documentary filmmaker is more than evident in this, his fiction debut. He prefers to observe his actors rather than direct them more overtly, giving them space to find their way into this state of farewell. While the improvised acting and mobile camera create immediacy, Karanikolas then observes things from a distance again, applying a layer of stylisation via the music and calling his actors up one by one to appear alone in front of the camera. In this way, concentrated moments of reflection alternate with the individual expressions of sadness each is entitled to.

© ITV Studios Global Entertainment/Park Circus

09.02. / 21:30 CinemaxX 7 (Premiere) 10.02. / 22:45 CineStar 3

22 Kindly supported by Harald Christ

When female impersonator Victor catches cold and loses his voice, the young Elizabeth stands in for him. The British remake of Reinhold Schünzel’s VIKTOR UND VIKTORIA is a musical with lots of songanddance routines, in which the gender confusion in the original version fades in comparison with the other spectacles and extravaganzas: the sophisticated Mediterranean scenes, the lavish sets designed by film architect O. F. Werndorff, and the extravagant creations by costume designer Joe Strassner, who had previously worked as a fashion designer on Berlin’s Kurfürstendamm and as a couturier for the Ufa film company.


FREIER FALL FREE FALL

GADO BRAVO

DIRECTOR Stephan Lacant CAST Hanno Koffler, Max Riemelt, Katharina Schüttler PERSPEKTIVE DEUTSCHES KINO Germany 2013 100’, German/English ST

DIRECTOR António Lopes Ribeiro, Max Nosseck CAST Nita Brandão, Olly Gebauer, Raul de Carvalho RETROSPEKTIVE Portugal 1934, 113’ Portuguese/German/English ST 13.02. / 17:00 Zeughauskino

Marc is shaken to the core when he meets a fellow police officer, Kay, on a training course and begins to develop feelings for him. When Kay asks to be transferred to Marc’s unit, his well-arranged life begins to sink into chaos. Torn between his love for his pregnant girlfriend Bettina and the rush of a completely new experience, his life begins to spin increasingly out of control. He soon finds himself increasingly estranged from his family, but running away with Kay is not an option. When Kay one day disappears without warning or leaving an address, it dawns on Marc that his absence has ripped a gaping hole in his life. With his life in free fall, Marc can no longer satisfy everyone’s expectations least of all his own.

© Cinemateca Portuguesa-Museu do Cinema Portugal

12.02. / 19:00 CinemaxX 8

09.02. / 20:30 CinemaxX 1 10.02. / 21:30 Toni & Tonino

© Sten Mende / kurhaus production

08.02. / 19:30 CinemaxX 3 09.02. / 13:00 Colosseum

A love story set in Portugal, where a German singer makes eyes at a celebrated matador. A film made in Ribatejo by German exiles, with documentary footage of landscapes and bullfights, and the great character comic Siegfried Arno as the undisputed star.

27. TEDDY AWARD / www.teddyaward.tv

23


INTERIOR. LEATHER BAR.

KUJIRA NO MACHI THE TOWN OF WHALES

LA RELIGIEUSE THE NUN

DIRECTOR Travis Mathews, James Franco CAST Val Lauren, Christian Patrick, James Franco PANORAMA USA 2013, 60’, English/ST

DIRECTOR Keiko Tsuruoka CAST Momoko Tobita, Sui Katano, Sakiko Yamaguchi FORUM Japan 2012, 70’ Japanese/English ST

DIRECTOR Guillaume Nicloux CAST Pauline Etienne, Isabelle Huppert, Louise Bourgoin, Martina Gedeck WETTBEWERB France/Germany/Belgium 2012 114’, French/English ST

11.02. / 21:30 CinemaxX 7 (Premiere) 12.02. / 22:45 CineStar 3

09.02. / 22:00 CinemaxX 6 10.02. / 19:30 CinemaxX 4

10.02. / 19:00 Berlinale Palast

13.02. / 22:30 Colosseum 1 16.02. / 21:30 CinemaxX 7

11.02. / 22:00 CineStar 8 13.02. / 15:00 Cubix 7

11.02. / 12:00 Friedrichstadt-Palast / 20:00 Haus der Berliner Festspiele

17.02. / 17:00 Cubix 9

16.02. / 20:00 Kino Arsenal 1

17.02. / 18:15 Friedrichstadt-Palast

When William Friedkin’s film Cruising was screened in competition at the Berlinale in 1980 it unleashed a wave of controversy – and not just at the festival. Gay activists accused the film, in which Al Pacino plays an undercover cop investigating a case in New York’s gay SM and leather scene, of stirring up homophobic stereotypes. Moreover, forty minutes of allegedly overly explicit scenes were deleted in order to secure a less restricted rating for the film’s release. Oscar-nominated actor James Franco and Travis Mathews have made it their mission to restage this missing and by now legendary forty minutes. The film constitutes the making-of one scene shot in a New York leather and SM bar before the onslaught of Aids and focuses on Val, who plays Al Pacino’s role. Heterosexual Hollywood actor Val has strong reservations about appearing in a gay film. Skirting the border between reality and fiction, Interior. Leather Bar. explores Hollywood’s homophobic mechanisms and examines prevalent clichés.

Machi, Tomohiko and Hotaru attend the same high school. Machi misses her older brother, who disappeared six years earlier. The trio takes up his trail, which leads them first to Tokyo and then across the sea. Together, these two girls and a boy comprise a fragile love triangle. It is a game of attraction and boundary setting, of closeness and distance. The three of them are at an age marked by profound insecurity and a constant desire to search, as well as by curiosity and the spirit of discovery. These changing states and moods dictate the rhythm of Keiko Tsuruoka’s directorial debut. She observes the trio again and again as they drift through their summer holidays – in the swimming pool, going for a walk, hanging around doing nothing. If life doesn’t have a dramatic structure yet, then the film doesn’t need one either. Moments are all that count, and each one has its own special significance: Such as when Machi receives a crate of yellow peaches from a friend of her brother, which makes her feel the sadness of her loss all the more clearly. The journey of these three young people is filled with such moments, which they experience together and which help them understand another.

Suzanne Simonin describes her life of suffering in letters. As a young woman she is sent to a convent against her will. Since her parents cannot afford the dowry required for a marriage befitting her rank they decide she must instead become a nun. Although a kind and understanding Mother Superior helps her to learn the convent’s daily routine, Suzanne’s desire for freedom remains unabated. When the Mother Superior dies, Suzanne finds herself faced with reprisals, humiliation and harassment at the hands of the new Abbess and the other Sisters. For many years, Suzanne is subjected to bigotry and religious fanaticism. Denis Diderot’s novel has been adapted for the screen several times. In 1966 Jacques Rivette made a film version with Anna Karina and Liselotte Pulver so daringly critical of the church it was temporarily banned by the French censors. Guillaume Nicloux however concentrates on the fate of a young woman pitted against a merciless system which crushes the individual. His film gradually divorces itself from the circumstances of this particular story to describe a universal drama.

24 Kindly supported by Harald Christ


LOSE YOUR HEAD

MALADIES

DIRECTOR Stefan Westerwelle, Patrick Schuckmann CAST Fernando Tielve, Marko Mandić, Sesede Terziyan PANORAMA Germany 2013, 107’ English/German/Spanish/Greek/English ST

DIRECTOR Carter CAST James Franco, Catherine Keener, Fallon Goodson PANORAMA SPECIAL USA 2012, 96’ English/Without ST 10.02. / 18:00 Friedrichstadt-Palast (Premiere)

10.02. / 20:15 Cubix 7 & 8 11.02. / 22:30 Colosseum 1

11.02. / 10:00 CinemaxX 7 12.02. / 17:00 Cubix 9

17.02. / 22:30 Cubix 7 & 8

12.02. / 21:30 Odeon 13.02. / 14:00 Kino International

Luis leaves his partner and flies to Berlin from Spain for a weekend of lighthearted partying, experimenting with drugs and casual physical encounters. He meets Viktor, a mysterious man who holds a fascinating, disconcerting attraction. Struggling with his inhibitions about being overpowered by a stranger, Luis submits to Viktor with a trusting passion. Shortly afterwards, Luis is confused with a missing Greek named Dimitri who is being desperately sought by his sister and cousin. Although Dimitri is Viktor’s ex-partner, Viktor has no explanation for his disappearance. Plagued by nagging suspicions, Luis nonetheless becomes further entangled in Viktor’s capricious and powerful aura of control and submission. This draws him into a quagmire of mysterious signs and dangers where soon even reality itself begins to seem like an illusion. Heavy, trance-like images of a multinational, sleepless Berlin create an electrifying, feverish daydream-cum-trip which evokes insatiable desires.

James, Catherine and Patricia. A house on the beach not far from New York. It is 1978. A neighbour with a soft spot for James drops by from time to time. James with his big-checked jacket, his camera and his unfinished novel. Catherine with her paintings and her men’s suits. Patricia with her cigarettes. Carter has created a tender, associative film about the friendship of three misfits. James used to be a successful TV soap actor until probable mental illness forced him to give up his job; his sister Patricia barely speaks and lives in a world of her own. Kindhearted painter Catherine is a cross-dresser who enjoys going out for coffee wearing men’s clothes. Maladies is a sensitive exploration of perception which takes creativity and fine art, the voices we hear inside and out, impressions, and the world of the imagination just as seriously as do its protagonists. The dedicated cast and bold narrative structure allow the director to create the portrait of a relationship which also captures society’s attitudes at that time to real and supposed mental illness.

© Pamela Berkovic

08.02. / 21:30 CinemaxX 7 (Premiere) 09.02. / 22:45 CineStar 3

27. TEDDY AWARD / www.teddyaward.tv

25


PETER

REACHING FOR THE MOON

SOME LIKE IT HOT

DIRECTOR Hermann Kosterlitz CAST Francisca Gaál, Hans Jaray, Felix Bressart RETROSPEKTIVE Hungary/Austria 1934, 83’ German/English ST

DIRECTOR Bruno Barreto CAST Miranda Otto, Glória Pires, Tracy Middendorf PANORAMA SPECIAL Brazil 2013, 120’ Portuguese/English/English ST

DIRECTOR Billy Wilder CAST Marilyn Monroe, Tony Curtis, Jack Lemmon RETROSPEKTIVE USA 1959, 118’ English/Without ST

09.02. / 19:00 CinemaxX 8 11.02. / 17:00 Zeughauskino

09.02. / 17:00 Cubix 9 11.02. / 21:00 Friedrichstadt-Palast (Premiere)

11.02. / 21:30 CinemaxX 8 16.02. / 21:00 Zeughauskino

15.02. / 10:30 CinemaxX 8

12.02. / 22:00 CineStar Event 13.02. / 14:30 Cubix 9

17.02. / 19:00 CinemaxX 8

26 Kindly supported by Harald Christ

© MGM Studios/Park Circus

Starring Francisca Gaál in a breeches role. Dressed as a boy, a street musician gets a job pumping gas. When s/he starts to have feelings for her patron, watch out for complications in this comedy shot in German in Budapest.

© Lisa Graham / L.C. Barreto

© Deutsche Kinemathek

14.02. / 17:00 Kino International

It is 1951. New York poet Elizabeth Bishop is looking for new inspiration for her work. She travels to Rio de Janeiro to visit Mary, a college friend. The shy Elizabeth is overwhelmed by Brazilian sensuality. She is the antithesis to Mary’s dashing partner, architect Lota de Macedo Soares. Although frosty at first, the architect soon makes a play for Elizabeth and, when her scheduled departure is unexpectedly delayed, the poet finally succumbs to Lota’s advances. Mary is jealous, but unconventional Lota is determined to have both women at all costs. Their ménage à trios is thrown off balance when Lota starts work on her biggest project to date, designing Parque do Flamengo in Rio. Elizabeth accepts an academic teaching post in the USA and the women drift apart. Lota, at all other times brimming with self-confidence, is inconsolable. Fuelled by destructive bouts of alcohol consumption, this eternal triangle plays out against the backdrop of the military coup of 1964. Bishop’s moving poems are at the core of a film which lushly illustrates a crucial phase in the life of this influential Pulitzer prize-winning poet.

In 1929 Chicago, two unemployed musicians flee angry mobsters by dressing up as women and joining a female band on tour. Billy Wilder’s riotous comedy, with its legendary performance by Marilyn Monroe is based on a German screenplay from the 1930s.


27. TEDDY AWARD / www.teddyaward.tv

27


VIC+FLO ONT VU UN OURS VIC+FLO SAW A BEAR

W IMIĘ... IN THE NAME OF

VIKTOR UND VIKTORIA

DIRECTOR Denis Côté CAST Pierette Robitaille, Romane Bohringer, Marc-André Grondin WETTBEWERB Canada 2013, 90’, French/English

DIRECTOR Małgośka Szumowska CAST Andrzej Chyra, Mateusz Kościukiewicz, Łukasz Simlat WETTBEWERB Poland 2012, 96’, Polish/English ST

DIRECTOR Reinhold Schünzel CAST Renate Müller, Hermann Thimig, Adolf Wohlbrück RETROSPEKTIVE Germany 1933, 99’ German/English ST

08.02. / 16:00 Berlinale Palast

10.02. / 22:00 Berlinale Palast (Premiere)

12.02. / 21:00 Zeughauskino 13.02. / 13:00 CinemaxX 8

09.02. / 09:15 Haus der Berliner Festspiele

11.02. / 15:00 Friedrichstadt-Palast / 22:45 Haus der Berliner Festspiele

17.02. / 18:00 Zeughauskino

09.02. / 09:30 Friedrichstadt-Palast / 22:30 Kino International

17.02. / 20:30 Berlinale Palast

A lonely bus stop, a trumpet-playing scout and a woman who refuses to pay him anything for his offtune performance. This dryly humorous opening sets the tone for rest of the film which tells the story of Vic, a woman who has just been released from prison and who is on the hunt for some peace and quiet. She moves into a relative’s house in the Canadian forest and receives a visit from her lover, Flo. The two of them take each day as it comes, exploring the countryside in a golf cart and enjoying the scenery. Life could be so wonderful – if only Vic’s rather unconventional probation officer wouldn’t keep turning up. Vic also finds her girlfriend’s sorties to local bars unsettling. A friendly woman in the neighbourhood, a gardener, soon turns out to be a shadow from the past; signs of impending threat begin to multiply and even the forest seems to have treacherous traps in store. With his film’s collection of eccentric characters, his bizarre directing ideas and the work’s mysterious atmosphere, film critic and documentary/drama director Denis Côté creates an artificial world with its own completely unpredictable reality.

28 Kindly supported by Harald Christ

© Friedrich-Wilhelm-Murnau-Stiftung

© Yannick Grandmont

12.02. / 16:15 CineStar 1 17.02. / 17:00 Haus der Berliner Festspiele

When female impersonator Viktor Hempel falls ill, Viktoria takes his place, pulls on his trousers and, as a woman, plays a man playing a woman. This cheeky sound film operetta is a classic of ”Queer Cinema”.

Adam is a Catholic priest who discovered his calling as a servant of God at the relatively late age of 21. He now lives in a village in rural Poland where he works with teenagers with behavioural problems who fight and yell abuse. He declines the advances of a young blonde named Ewa, saying he is already spoken for. However, celibacy is not the only reason for his rejection. Adam knows that he desires men and that his embrace of the priesthood has been a flight from his own sexuality. When he eventually meets Łukasz, the strange and taciturn son of a simple rural family, Adam’s self-imposed abstinence becomes a heavy burden. Małgośka Szumowska’s visually powerful film, charged with striking imagery from Christ’s Passion, dares to broach the still taboo topic of homosexuality in the priesthood. Confronted with his ‘forbidden’ desires, her protagonist experiences both moments of bliss and utter despair. A film about confused emotions, repression and loneliness – and the possibility of perhaps finding oneself after all.


WILL YOU STILL LOVE ME TOMORROW?

ZWEI MÜTTER TWO MOTHERS

DIRECTOR Arvin Chen CAST Richie Jen, Mavis Fan, Stone PANORAMA SPECIAL Taiwan 2013, 104’ Mandarin/English ST

DIRECTOR Anne Zohra Berrached CAST Karina Plachetka, Sabine Wolf PERSPEKTIVE DEUTSCHES KINO Germany 2013 75’, German/English ST

09.02. / 19:30 CineStar Event (Premiere)

14.02. / 19:30 CinemaxX 3 (Premiere)

14.02. / 20:00 Kino International 15.02. / 12:30 CinemaxX 7

15.02. / 13:00 Colosseum 1 / 20:30 CinemaxX 1

16.02. / 14:30 Cubix 9 17.02. / 20:00 Kino International

Introverted Weichung has been married to Feng for nine years. They have one son together, and Feng would like to have another child with him. One day Stephen, an old friend who now organises weddings, appears and encourages Weichung to return to the gay life he had previously. Anxious not to lose his wife, Weichung tentatively begins seeing a flight attendant behind Feng’s back. Weichung’s impulsive sister Mandy dumps her fiancée San-San in the middle of a supermarket. She is equally at a loss and dreams of being with a soap star. Goodnatured but desperate San-San tries to woo her back with ever more romantic ideas. While Stephen and even Feng’s mother persist in meddling in the couples’ affairs, Feng becomes an independent woman. Arvin Chen’s charming film brings classical approaches to partnerships into playful disarray. He comically opens up the borders of the nuclear family, integrating it into a diverse community which manages to strike a balance between independence and the forming of bonds, friendship and sexual fulfilment.

Katja and Isabella decide to have a child. However, like many lesbian couples they soon discover that this is much more difficult than they first imagined. Most of the sperm banks and fertility clinics refuse to treat them, citing legal arguments. Fortunately, they are able to find one doctor willing to help them for a large sum. After a while, Katja decides she wants to call a halt to their ‘project’ on account of the way it is taking its toll on their relationship – not to mention their beleaguered bank balance. But Isabella refuses to give up. She finds a dealer who sells them a kit that will allow them to perform the insemination in the comfort of their own home, and there are plenty of men on the internet willing to sell their sperm for different sums and sometimes one or two additional conditions. And so they begin ‘casting’ for a potential donor – a process that drags on for several difficult weeks. This fictional story is part experiment and part salutary tale. Containing all manner of sensitive material such as research, statistics, facts, prognoses, dreams and realities, this thrilling work charts the vibrant terrain between fiction and reality.

27. TEDDY AWARD / www.teddyaward.tv

29


Freddie Mercury (*1972) „I want to break free.” The British musician and singer Freddie Mercury, whose real name was Farrokh Bulsara, became famous as the frontman of the band “Queen”, which was founded in 1970. With the band, he had worldwide hits such as BOHEMIAN RHAPSODY (1975), WE ARE THE CHAMPIONS (1977), WE WILL ROCK YOU (1977), and I WANT TO BREAK FREE (1984). In the 1970s, Freddie Mercury had his private coming-out. In the 1980s, he was part of the gay community in Munich, where he was living for some time . In 1991, Freddie Mercury died as a result of AIDS at Jim Hutton’s side, who had been his partner for many years. Due to his death, his homosexuality became widely known to the public. At the same time, his death raised awareness of the immunodeficiency disease HIV/AIDS and the fight against this disease -. The influence of Freddie Mercury’s music can still be felt today . In 2009, the music magazine “Classic Rock” carried out a survey, and Mercury awarded the title “Greatest Rock Singer of All Time”. Der britische Musiker und Sänger Freddie Mercury, bürgerl. Farrokh Bulsara, wurde als Frontman der 1970 gegründeten Band Queen berühmt. Mit ihr feierte er Welthits wie BOHEMIAN RHAPSODY (1975), WE ARE THE CHAMPIONS (1977), WE WILL ROCK YOU (1977) und I WANT TO BREAK FREE (1984). In den 70er Jahren hatte Freddie Mercury sein - zunächst privates - Coming-out. In den 80er Jahren war er vor allem in der Schwulenszene in München, wo er zeitweise wohnte, unterwegs. Freddie Mercury starb 1991 an der Seite seines langjährigen Partners Jim Hutton an den Folgen von AIDS. Durch seinen Tod wurde seine Homosexualität einer breiten Öffentlichkeit bekannt, während zugleich die Immunschwächekrankheit HIV/AIDS und ihre Bekämpfung mehr Aufmerksamkeit erhielten. Der Einfluss von Freddie Mercurys Musik ist noch bis heute zu spüren, so wurde er 2009 zum ‚größten Rocksänger aller Zeiten‘ gewählt.

David Hockney (*1937) „I paint what I like when I like and where I like.” The English painter and photographer David Hockney is one of the most important and most influential British artists of the 20th century. His career began at the Royal College of Art in London. While he was at university, his work was already shown at the famous New Contemporaries Exhibition. In the beginning, Hockney’s art was still influenced by Expressionism, but later Pop Art found its way into British art, and Hockney himself became one of its most important representatives internationally. His most famous works include his POOL pictures and A BIGGER SPLASH (1976). Beyond that, David Hockney explores the nature of gay love and intimacy in his pictures, for example like in DOMESTIC SCENE (1963), where two men are washing each other. His works also show reference to other homosexual artists. WE TWO BOYS TOGETHER CLINGING (1969) is for example named after a poem by Walt Whitman. Der englische Maler und Fotograf David Hockney zählt zu den bedeutendsten und einflussreichsten britischen Künstlern des 20. Jahrhunderts. Seine Karriere begann er am Royal College of Art in London. Noch während seines Studiums wurden seine Arbeiten in der renommierten New Contemporaries Ausstellung gezeigt. Zunächst noch vom Expressionismus beeinflusst, hielt mit Hockneys Werk die Pop Art Einzug in die britische Kunst und er selbst wurde international zu einem ihrer wichtigsten Vertreter. Zu seinen bekanntesten Werken zählen dabei seien POOL-Bilder und A BIGGER SPLASH (1967). Darüber hinaus erforscht David Hockney in seinen Bildern die Natur schwuler Liebe und Intimität wie bspw. in DOMESTIC SCENE (1963), auf dem zwei Männer sich gegenseitig waschen. Auch finden sich in seinem Werk Verweise auf andere homosexuelle Künstler, so ist WE TWO BOYS TOGETHER CLINGING (1961) nach einem Gedicht von Walt Whitman benannt.

30 Kindly supported by Harald Christ


27. TEDDY AWARD / www.teddyaward.tv

31


22:00 Exposed CineStar Event (Premiere)

SCHEDULE GUIDE MONDAY, 04.02. 22:00 Einführung in die queeren Filme der 63. Berlinale Kino International TUESDAY, 05.02. 19:30 TEDDY-Dinner 2013 Restaurant Bamberger Reiter THURSDAY, 07.02. 21:00 Chemi sabnis naketsi CinemaxX 7 (Premiere) FRIDAY, 08.02. 16:00 W imię… Berlinale Palast 16:00 Ja kada sam bila klinac CinemaxX 5 18:00 Boven is het stil Friedrichstadt-Palast (Premiere) 19:00 Die 727 Tage ohne Karamo Delphi Filmpalast 19:30 Freier Fall CinemaxX 3

23:00 Empfang der TEDDY Jury 2013 SchwuZ SATURDAY, 09.02. 09:15 W imię… Haus der Berliner Festpiele 09:30 W imię… Friedrichstadtpalast 10:00 Boven is het still CinemaxX 7 11:00 Cabaret Kino International 13:00 Freier Fall Colosseum 1 15:30 Naked Opera Colosseum 1 17:00 Reaching for the Moon Cubix 9 19:00 Peter CinemaxX 8 19:30 Will You Still Love Me Tomorrow? CineStar Event (Premiere)

20:15 Chemi sabnis naketsi CineStar 3

20:00 Born this way CineStar 7 (Premiere)

21:30 Lose Your Head CinemaxX 7 (Premiere)

20:30 Freier Fall CinemaxX 1

32 Kindly supported by Harald Christ

21:30 Deshora CinemaxX 7 (Premiere)

17:30 Paul Bowles: The Cage Door is Always Open Cubix 7

22:00 Beshivhey Hayom CinemaxX 3

18:00 Maladies Friedrichstadt Palast (Premiere)

22:00 Die 727 Tage ohne Kamaro CinemaxX 4 22:30 Chemi sabnis naketsi Cubix 7 & 8 22:30 Exposed CineStar 7 22:30 W imię… Kino International 22:45 Lose Your Head CineStar 3 23:00 PROPAGANDA goes TEDDY GOYA SUNDAY, 10.02. 14:00 Chemi sabnis naketsi Kino International

19:00 La Religieuse Berlinale Palast 19:30 Kujira no machi CinemaxX 4 20:15 Lose Your Head Cubix 7 + 8

17:30 SO36 meets TEDDY Café Fatal im SO36

14:00 Boven is het still Kino International 15:00 Vic + Flo ont vu un ours Friedrichstadt Palast 16:45 Hélio Oiticica Delphi Filmpalast

21:30 Freier Fall Toni & Tonino 22:00 Vic+Flo ont vu un ours Berlinale Palast

17:00 Peter Zeughaus Kino

22:30 Baek Ya Colosseum 1

20:00 Bambi CineStar 7 (Premiere)

22:45 Deshora CineStar 3

20:00 Two Girls Against The Rain CineStar 7 (Premiere) 20:00 La Religieuse Haus der Berliner Festspiele

15:30 Exposed Colosseum 1

17:00 Naked Opera CineStar 7 (Premiere)

12:30 Die 727 Tage ohne Kamaro Kino Arsenal 1

17:00 Fifi az khoshhali zooze mikeshad CineStar 7 (Premiere)

14:30 Born this way CineStar 7

17:00 Boven is het still Cubix 9

12:00 La Religieuse Friedrichstadt Palast

MONDAY, 11.02. 10:00 Maladies CinemaxX 7 11:00 Dina and Noel HKW Kino 2 12:00 Naked Opera CineStar 7

20:15 Deshora Cubix 7 & 8 21:00 Reaching For The Moon Friedrichstadt Palast (Premiere) 21:30 Interior.Leather Bar. CinemaxX 7 (Premiere)


21:30 Some like it hot CinemaxX 8

17:30 Gut Renovation Cubix 7

22:00 Ja kada sam bila klinac, bilam sam klinka CinemaxX 3

17:45 Chemi sabnis naketsi CineStar 3

22:00 Kujira no machi CineStar 8

17:45 Ja kada sam bila klinac, bila sam klinka Colosseum 1

22:30 Lose Your Head Coloseum 1

19:00 Gado Bravo CinemaxX 8

22:45 Vic + Flo ont vu un ours Haus der Berliner Festspiele

21:00 Viktor und Viktoria Zeughauskino

TUESDAY, 12.02. 11:00 Första gången HKW Kino 2

21:30 Concussion CinemaxX 7 (Premiere)

11:00 O Pacote HKW Kino 2

21:30 Echolot Delphi Filmpalast

12:00 Fifi az khoshhali zooze mikeshad CineStar 7

21:30 Maladies Odeon

14:30 Bambi CineStar 7 14:30 Two Girls Against The Rain CineStar 7 16:00 Beshivhey Hayom CinemaxX 5 17:00 Maladies Cubix 9 17:00 Paul Bowles: The Cage Door is Always Open CineStar 7 (Premiere)

22:00 Hélio Oiticica CinemaxX 4 22:00 Reaching for the Moon CineStar Event 22:45 Interior. Leather Bar. CineStar 3 WEDNESDAY, 13.02. 13:00 Viktor und Viktoria CinemaxX 8 14:00 Maladies Kino International 14:30 Reaching for the Moon Cubix 9

14:30 Paul Bowles: The Cage Door is Always Open CineStar 7

21:30 Baek Ya CinemaxX 7 (Premiere)

15:00 Kujira no machi Cubix 7

22:30 Interior. Leather Bar. Colosseum 1

20:00 Will You Still Love Me Tomorrow? Kino International

15:30 The Runaway Troupe of the Cartesian Theatre Kino Arsenal 1

22:30 Rosakinder Kino International

21:30 Echolot CineStar 8

22:45 Concussion CineStar 3

21:45 Sing Me The Songs That Say I Love You - A Concert For Kate McGarrigle CineStar Event (Premiere)

15:30 Not Blacking Out, Just Turning The Lights Off Kino Arsenal 1 16:00 Ta av mig CinemaxX 5

THURSDAY, 14.02. 12:00 Out in Ost-Berlin - Lesben und Schwule in der DDR CineStar 7

16:00 Portrait of Jason Delphi Filmpalast

13:30 A Midsummer Night’s Dream CinemaxX 8

17:00 Gut Renovation CineStar 7 (Premiere)

16:00 Ja kada sam bila klinac, bils sam klinka CinemaxX 5

17:00 Out in Ost-Berlin - Lesben und Schwule in der DDR Kino International (Premiere) 17:00 Gado Bravo Zeughauskino 17:30 Born This Way Cubix 7 19:00 Soirée Diversité Hotel ADLON Kempinski Berlin 20:15 Första gången HKW Kino 2 20:15 O Pacote HKW Kino 2

19:30 Zwei Mütter CinemaxX 3

22:00 Beshivhey Hayom CinemaxX 3 22:00 CONNECTION goes TEDDY Connection-Club 22:00 MATTACHINE DANCE PARTY @ Monster Ronson Monster Ronson’s 22:30 Gut Renovation CineStar 7

17:00 Dina and Noel HKW Kino 2 17:00 Reaching for the Moon Kino International 17:30 Hélio Oiticica Kino Arsenal 1

22:30 Concussion Colosseum 1 22:30 Portrait of Jason Kino Arsenal 1 22:45 Baek Ya CineStar 3

17:45 Concussion CineStar 3

FRIDAY, 15.02. 10:30 Peter HKW Kino 2

17:45 Ta av mig Colosseum 1

11:00 Dina and Noel HKW Kino 2

27. TEDDY AWARD / www.teddyaward.tv

33


VENUES

Veranstaltungsorte 12:30 Will You Still Love Me Tomorrow? CinemaxX 7

SATURDAY, 16.02. 11:30 First a Girl CinemaxX 8

13:00 Zwei Mütter Colosseum 1

12:00 Bambi CineStar 7

14:00 Första gången HKW Kino 2 14:00 O Pacote HKW Kino 2 14:30 Sing Me The Songs That Say I Love You - A Concert For Kate McGarrigle CineStar 7 15:30 Gut Renovation Colosseum 1 17:30 Out in Ost-Berlin - Lesben und Schwule in der DDR Cubix 7 19:00 Deshora CinemaxX 7 19:00 Die 727 Tage ohne Kamaro CineStar 8 20:15 Baek Ya Cubix 7 & 8 20:30 Zwei Mütter CinemaxX 1 21:00 27. TEDDY AWARD Preisverleihung STATION Berlin 21:00 First a Girl Zeughauskino 22:00 Ta av mig CinemaxX 3

34 Kindly supported by Harald Christ

12:00 Two Girls Against The Rain CineStar 7 14:30 Will You Still Love Me Tomorrow Cubix 9

21:00 Some Like It Hot Zeughauskino

20:00 Echolot Colosseum 1

21:30 Interior.Leather Bar. CinemaxX 7

20:00 Will You Still Love Me Tomorrow? Kino International

22:30 Naked Opera CineStar 7 23:30 ARTE zeigt: TEDDY AWARD Preisverleihung

15:30 Sing Me The Songs That Say I Love You - A Concert For Kate McGarrigle Colosseum 1

SUNDAY, 17.02. 15:30 Out in Ost-Berlin - Lesben und Schwule in der DDR Colosseum 1

16:00 The Runaway Troupe of the Cartesian Theatre CinemaxX 5

16:00 Dina and Noel CinemaxX 5

17:30 Echolot Kino Arsenal 1 17:45 Beshivhey Hayom Colosseum 1 18:00 A Midsummer Night’s Dream Zeughauskino 20:00 Kujira no machi Kino Arsenal 1 20:15 Deshora Cubix 7

22:30 Lose Your Head Cubix 7 & 8 22:30 Chemi sabnis naketsi Colosseum 1

14:30 Fifi az khoshhali zooze mikeshad CineStar 7

16:00 Not Blacking Out, Just Turning The Lights Off CinemaxX 5

20:30 Vic+Flo ont vu un ours Berlinale Palast

17:00 Interior.Leather Bar. Cubix 9 17:00 W imię... Haus der Berliner Festspiele 17:00 TEDDYROLLE Kino International 18:00 Viktor und Viktoria Zeughauskino 18:15 La Religieuse Friedrichstadt-Palast 19:00 Some Like It Hot CinemaxX 8

MONDAY, 18.02. 01:00 RBB zeigt: TEDDY AWARD Preisverleihung 22:00 Die TEDDY AWARD Gewinner-Filme 2013 der 63. Berlinale Kino International THURSDAY, 28.02. 19:00 Finissage «Golden Queers» Rinaldo Hopf Café STOLZ & VORURTEIL

Arsenal Potsdamer Str. 2 10785 Berlin Berlinale Palast Marlene-Dietrich-Platz 1 10785 Berlin CinemaxX Potsdamer Str. 5 10785 Berlin CineStar Potsdamer Str. 4 10785 Berlin Colosseum Schönhauser Alle 123 10437 Berlin Cubix Alexanderplatz, Rathausstr. 1 10778 Berlin Delphi Filmpalast Kantstr. 12 10623 Berlin Filmtheater am Friedrichshain Bötzowstr. 1-5 10407 Berlin Friedrichstadtpalast Friedrichstr. 107 10117 Berlin Haus der Berliner Festpiele Schaperstraße 24 10719 Berlin Haus der Kulturen der Welt John-Foster-DullesAllee 10 10557 Berlin Kino International Karl-Marx-Allee 33 10787 Berlin STATION Berlin Luckenwalder Str. 4-6 10963 Berlin Toni & Tonino Max-Steinke-Straße 43 13086 Berlin Zeughaus Kino Unter den Linden 2 10117 Berlin


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BAMBI

BORN THIS WAY

DIE 727 TAGE OHNE KARAMO THE 727 DAYS WITHOUT KARAMO

DIRECTOR Sébastien Lifshitz CAST Marie-Pierre Pruvot PANORAMA DOKUMENTE France 2013, 60’ French/English ST

DIRECTOR Shaun Kadlec, Deb Tullmann PANORAMA DOKUMENTE USA 2013, 82’ French/English/English ST

DIRECTOR Anja Salomonowitz FORUM Austria 2013, 80’, German/English/Spain/Mongolian/English ST

11.02. / 20:00 CineStar 7 (Premiere)

09.02. / 20:00 CineStar 7 (Premiere) 10.02. / 14:30 CineStar 7

07.02. / 09:30 CinemaxX 6 08.02. / 19:00 Delphi-Filmpalast

12.02. / 14:30 CineStar 7 16.02. / 12:00 CineStar 7

13.02. / 17:30 Cubix 7

09.02. / 22:00 CinemaxX 4 11.02. / 12:30 Kino Arsenal 1

© AMOUR FOU Vienna

15.02. / 19:00 CineStar 8

Bambi was born Jean-Pierre Pruvot in a tiny Algerian village in 1935. Even as a child, she refused to meet the expectations of her extended family, choosing instead to find a way to become the woman she always knew herself to be. A ‘Cabaret Carrousel de Paris’ performance in Algiers in the 1950s proved to be all the encouragement she needed to emigrate to the French capital, assume the stage name of ‘Bambi’ and lead the life she longed for on the music-hall stages. Jean-Pierre, known since then as Marie-Pierre, is now 77 years old. Hers is a story of deep-seated confusion, painful rejection and impassioned courage. An impressive collage of photographs and chansons, archive footage, excerpts from feature films, Super-8 clips and visits to the places of her childhood provides a sensitive chronicle of her liberating transformation into a radiant transsexual woman. Stops along the way include her first love, her friendship with fellow artiste Coccinelle, her experiments with hormones, her rivals and scandals, the story of how she became a writer – and her surprising encounter with the love of her life.

36 Kindly supported by Harald Christ

Like everywhere else in the world, gays and lesbians in Cameroon also seek refuge in the city. The two young gay men in this film are crazy about Rihanna and Lady Gaga, who has been a gay icon since her hit song ‘Born this way’. But the tolerance Lady Gaga sings about is just a dream for these two young men. In their country, homosexual relations are subject to punishment of up to five years imprisonment, and it is almost impossible to come out to your own family. This film describes both what is impossible and what is possible. The filmmakers’ unobtrusive proximity to their protagonists has yielded conversations in which their interlocutors talk about their longing for a love life they are forbidden to have. Alice Nkom is a lawyer and human rights activist fighting to protect the rights of gays and lesbians. Thanks to her, there is quiet hope, and little niches can be discerned where there is something like a life that is not based on self-denial. After Call me Kuchu, which documented the situation for homosexuals in Uganda and won a Teddy Award in 2012, Born This Way makes it clear that the worldwide struggle for tolerance and equality still has a long way to go.

An Austrian woman has been forced to live alone with her children ever since her husband Karamo was deported to Africa. A man tries to instil hope in his Chinese wife that she will soon be allowed to return to Vienna. Others talk of the long wait for residence permits, of struggles with forms and offices, of German courses, income statements and domestic spot checks by the police which infer that their marriage is a sham. The complicated, state regulated reality experienced by various binational couples forms the basis for this formally unusual political documentary. Each protagonist appears just once, presenting his or her experiences in a clearly staged manner within highly stylised settings. Both their costumes and the locations they appear in are presented in shades of yellow throughout, with sound collages and fictionalising music representing a further creative intervention on the acoustic level. With the colour yellow serving as a linking mechanism, the various personal contributions form themselves into a fluid documentary account of the confrontation between love and restrictive immigration law. It is a story of madness with method.


EXPOSED

FIFI AZ KHOSHHALI ZOOZE MIKESHAD FIFI HOWLS FROM HAPPINESS

GUT RENOVATION

DIRECTOR Beth B CAST World Famous *Bob*, Rose Wood, Julie Atlas Muz PANORAMA DOKUMENTE USA 2013, 77’ English

DIRECTOR Mitra Farahani CAST Bahman Mohassess PANORAMA DOKUMENTE USA 2013, 96’ Farsi/English ST

DIRECTOR Su Friedrich PANORAMA DOKUMENTE USA 2012, 82’ English

11.02. / 17:00 CineStar 7 (Premiere)

12.02. / 17:30 Cubix 7 13.02. / 17:00 CineStar 7 (Premiere)

09.02. / 22:30 CineStar 7 10.02. / 15:30 Colosseum 1

12.02. / 12:00 CineStar 7 16.02. / 14:30 CineStar 7

14.02. / 22:30 CineStar 7 15.02. / 15:30 Colosseum 1

Bahman Mohassess was a celebrated artist at the time of the Shah. Trained in Italy, he created sculptures and paintings in his homeland. But audiences often took offence at the pronounced phalli on his mostly naked bronze figures and his work was regularly censored. All traces of him were lost after the revolution. It was said he destroyed his remaining paintings and disappeared. Mitra Farahani, who began her career as a painter, finds Mohassess in a hotel in Rome. The old man is flattered by her interest in his life but also has very clear ideas about how his words and life should be illustrated. His unshakeable humour is nevertheless infectious and his critical faculties fascinating. Almost incidentally, the topic moves towards art and homosexuality. Farahani wants to film Mohassess at work and discovers two brothers who commission a new piece from him. Enlivened by the encounter with these two young Iranian collectors, the artist energetically discusses his grand plans and drives a hard bargain for his last work of art.

In 1989, together with a group of female friends, Su Friedrich rented and renovated an old loft in Williamsburg, an unassuming working-class district of Brooklyn. In 2005 this former industrial zone was designated a residential area and the factories, manufacturers and artists’ lofts were priced out by property speculators lured by tax breaks. Friedrich spent five years documenting with her camera the changes in the area between East River and the Brooklyn-Queens Expressway. She shows the demolition of industrial buildings and the construction of trendy new apartments for wealthy clients, watching old tenants leave and new inhabitants arrive. As she keeps meticulous record of developments, the extent and speed of the upheaval becomes clear. Her own tenancy agreement is up too and so her documentary images and trenchant commentary become the tools of her growing anger. A documentary of small changes evolves into an historical record of New York. The resulting film is a melancholy, essayistic requiem for a neighbourhood and an entire way of life; it also provides a case study of the rapid gentrification of our cities.

In her previous work, underground artist Beth B has often addressed such topics as sexual repression and boundary transgression. In EXPOSED, she leads us through New York’s 21st century underground where classic burlesque – usually catering to the male gaze – is being radically redefined, prevalent sexual clichés are interrogated, and deeper meanings are teased out in a humorous and sometimes shocking way. From its founder James Habacker, we learn about the birthplace of neoburlesque at the Slipper Room, one of the few remaining subversive venues on the Lower East Side; and the performers discuss their bid to do away with binary sexual roles and body stereotypes. The film’s mixture of exclusive footage of live performances and intimate backstage interviews reveals a hidden world, in which the pleasures of exhibiting a (less than perfect) body and of transgressing sexual and gender boundaries are celebrated, and war is declared on society’s norms.

© Su Friedrich

© Ande Whyland

08.02. / 22:00 CineStar Event (Premiere)

27. TEDDY AWARD / www.teddyaward.tv

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NAKED OPERA DIRECTOR Angela Christlieb PANORAMA DOKUMENTE Luxembourg/Germany 2013, 80’, Luxembourgish/German/French/EnglishST

OUT IN OST-BERLIN - LESBEN UND SCHWULE IN DER DDR OUT IN EAST BERLIN – LESBIANS AND GAYS IN THE GDR DIRECTOR Jochen Hick, Andreas Strohfeldt PANORAMA DOKUMENTE Germany 2013, 94’ German/English ST

HÉLIO OITICICA DIRECTOR Cesar Oiticica Filho CAST Zé Celso Martinez Corrêa, Acauã Sol, Ana Guilhermina FORUM Brazil 2012, 94’, Portuguese/English ST

09.02. / 15:30 Colosseum 1 10.02. / 17:00 CineStar 7 (Premiere)

13.02. / 17:00 Kino International (Premiere)

10.02. / 13:30 CinemaxX6 11.02. / 16:45 Delphi-Filmpalast

11.02. / 12:00 CineStar 7 16.02. / 22:30 CineStar 7

14.02. / 12:00 CineStar 7 15.02. / 17:30 Cubix 7

12.02. / 22:00 CinemaxX4 14.02. / 17:30 Kino Arsenal 1

17.02. / 15:30 Colosseum 1

Marc is a wealthy but critically ill man who is living life to the full one final time. Alongside his ordered existence as a human resources manager in Luxembourg he enjoys a bacchanalic life with young male ‘companions’ in the luxury hotels of major cities whose opera houses happen to be playing Mozart’s Don Giovanni. This opulently filmed documentary follows Marc on his journeys, accompanies him on his visits to doctors, and allows him to expound upon his personal philosophy of power, money and control over both himself and others. Marc’s life is uncompromisingly black and white. His structured routine is essential to help him keep his head above water. But then his life begins to unravel when he falls in love with a porn actor and follows him into the world of Berlin’s ‘HustlaBall’. Filmmaker Angela Christlieb displays a sense of the bizarre in this intimate portrait of a man who in spite of, or perhaps because of his contradictions, comes across as endearing and vulnerable. The filmmaker’s palpable presence behind the camera develops along the way into one of the documentary filmmaking’s central themes: the relationship between director and protagonist.

38 Kindly supported by Harald Christ

Unlike the Federal Republic, by 1968 homosexuality was already de-criminalised in the German Democratic Republic’s penal code. But the ‘workers’ and farmers’ state’ did not exactly welcome its gay and lesbian citizens with open arms; their sexuality was taboo and they were often marginalised from public life. The ‘bewitched’ generation that had seen the war and were now trying to live lives of inconspicuous normality felt threatened by younger homosexuals who came out and demanded spaces in which to express themselves. Thirteen moving biographies depict the private and political developments that led to opposition against the state apparatus. The founders of East Berlin’s LGBT movement, the ‘Terrorlesben’ from Prenzlauer Berg, gay Communists and church groups – they all wanted to change the system and hoped for a society in which they could be more open about their sexuality. When the first homosexuals began applying to leave the GDR they became a problem and ‘Stasi Romeos’ began schmoozing young gay men. Archive footage from broadcast news and excerpts from old GDR newsreels illustrate the historical dimension of these individual biographies.

Cesar Oiticica Filho’s first film is a visually striking found-footage documentary about the filmmaker’s uncle, Hélio Oiticica (1937-1980), one of the most important Brazilian artists of the 20th Century. Foregoing voiceover narration and expert analyses, the film allows Oiticica himself to narrate his life and expound upon his art in his own words, and in extremely rare archival audio and visual material. The artist’s commentary guides us through his artistic development and expansive political and aesthetic interests, from his modernist paintings and sculptures in the 1960s to his expanded cinema installations and slide show environments of the 1970s, and from the favelas and the lively street life of Rio, New York and London to samba schools and the tropicália cultural movement, jumpstarted by Oiticica but associated with musicians Caetano Veloso and Gilberto Gil. The film’s rhythmic montage of images doesn’t simply illustrate the artist’s commentary, but both contextualises and radically expands upon it. The result is a bold and complex portrait of an artist for whom life (including homosexuality and drug use) and work determined and transformed each other.


27. TEDDY AWARD / www.teddyaward.tv

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PAUL BOWLES: THE CAGE DOOR IS ALWAYS OPEN

PORTRAIT OF JASON

ROSAKINDER

DIRECTOR Daniel Young WITH Paul Bowles, Gore Vidal, Bernardo Bertolucci, John Waters PANORAMA DOKUMENTE Switzerland 2012, 87’ English/German ST

DIRECTOR Shirley Clarke CAST Jason Holliday (geb. Aaron Payne), Shirley Clarke, Carl Lee FORUM USA 1967, 105’, English

DIRECTOR Julia von Heinz, Chris Kraus, Axel Ranisch, Robert Thalheim, Tom Tykwer BERLINALE SPECIAL Germany 2012, 94’, German/ST

14.02. / 22:30 Kino Arsenal 1

13.02. / 22:30 Kino International

© Milestone Film

13.02. / 16:00 Delphi-Filmpalast

13.02. / 14:30 CineStar 7

© Cherie Nutting

10.02. / 17:30 Cubix 7 12.02. / 17:00 CineStar 7 (Premiere)

The fact that Paul Bowles is less well known than fellow writers like William S. Burroughs, Allen Ginsberg or Jack Kerouac may be because, after pursuing a nomadic lifestyle at the beginning of the 1950s, publicity-shy Bowles decided to settle in Tangiers. There, far away from the hurly-burly of the literary world, the town became a permanent home for this homosexual writer and composer and Jane, his lesbian wife. Bowles’ austere, almost Calvinistic view of humankind and the psyche, as well as his outright refusal to subscribe to the zeitgeist, distinguished him from other Beat Generation writers throughout his life. Based on moving interviews given by Bowles shortly before his death, Daniel Young’s documentary takes a look at the life and work of this fascinating and complex personality; his rather eccentric but nonetheless deeply loyal marriage; and, naturally, the mythically glamorous Tangiers. Combined with anecdotes and comments from some of Bowles’ fellow travellers and other contemporaries, including the brilliant Gore Vidal, the film delivers a multifacetedportrait of this radical visionary’s life.

”What I really want to do is what I am doing now: perform,” says Jason Holliday in ”his” portrait. Jason – black, gay and a self-declared hustler – directs himself, follows directions, narrates, invents, confesses, makes claims and ultimately challenges the camera, the film team composed of Shirley Clarke and Carl Lee (with whom she also collaborated on The Connection and The Cool World) and us, the viewers, as far as our notions of identity and truth are concerned. Reviews of the film continually point out that it cannot be categorised, not as documentary or phantasmagory, as audition reel or feature length interview. Portrait of Jason is all of those things at once and yet something else too: an extravagant dialogue with a camera and an audience. Since its initial success and distribution through the Filmmakers Coop, it has only been available on VHS and, since 2006, on DVD too; in the latter case, with the added speculation that the film’s persistent unavailability through the years can only be understood as a material expression of its categorical ambiguity. Now Portrait of Jason has finally been restored: ”This is a picture I can save forever” (Jason Holliday).

40 Kindly supported by Harald Christ

At first glance these five directors couldn’t be more different, and they certainly wouldn’t appear to have much in common. And yet, take a look at their biographies, and you will notice that one name connects them all: Rosa von Praunheim – probably Germany ’s most uninhibited, confrontational and honest director. To commemorate his seventieth birthday, these ‘Rosakinder’ as they call themselves have created this cinematic tribute. As they talk about their own careers and how they came to work in film, Rosa von Praunheim’s influence on key phases in their lives and creative output becomes apparent. Each of these directors has created their own, personal film about their relationship to Rosa. The resulting work is a vibrant genre mix in a documentary setting in which their mentor begins to emerge as a father figure – with his creativity, his urge to be innovative, defiant and pushy and to provoke, but also with his insecurity and his love. The kind of father with whom you can sometimes argue so much you could punch him; but also the kind you call when you need to be alone and don’t really want to talk to anyone at all.


SING ME THE SONGS THAT SAY I LOVE YOU - A CONCERT FOR KATE MCGARRIGLE DIRECTOR Lian Lunson CAST Anna McGarrigle, Rufus Wainwright, Martha Wainwright, Norah Jones PANORAMA DOKUMENTE USA 2012, 107’, English/Without ST 14.02. / 21:45 CineStar Event (Premiere)

© Lian Lunson - Horse Pictures

15.02. / 14:30 CineStar 7 16.02. / 15:30 Colosseum 1

In May 2011, a concert was held in New York’s Town Hall to commemorate the influential Canadian singersongwriter Kate McGarrigle who had died of cancer a year previously at the age of 63. This film shows the intimate group of people on stage including her children Rufus and Martha Wainwright, her sister Anna McGarrigle and friends from the music business such as Emmylou Harris, Norah Jones, Antony Hegarty and Teddy Thompson, all of whom weave magic with Kate’s musical legacy. Their voices resonate with a great sense of loss, but also with the strength of a deeply inspired and inspiring tribute to life. Curated by music producer Joe Boyd, the concert includes songs such as ‘I Cried for Us’ and ‘Kitt y Come Home’ which, together with a short reading by Michale Ondaatje from Kate’s writings, evoke her grappling with topics such as separation, loneliness and getting older. Lian Lunson compliments her simply filmed, moving documentary with interviews, archive footage, home videos and a letter from Kate’s father and brings the viewer closer to Kate and her family – until her time comes. Rufus’ and Martha’s young voices can be heard in an old recording singing a French Christmas carol.

27. TEDDY AWARD / www.teddyaward.tv

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42 Kindly supported by Harald Christ


BESHIVHEY HAYOM IN PRAISE OF THE DAY DIRECTOR Oren Adaf CAST Oren Adaf, Netanel Azulay, Shani Adaf BERLINALE SHORTS Israel 2013, 20’ Hebrew/English ST

DINA AND NOEL

FÖRSTA GÅNGEN THE FIRST TIME

DIRECTOR Sivan Levy, Natalie Melamed CAST Glenn Tidula Perocho, Sivan Levy GENERATION Israel 2012, 10’, Without language

DIRECTOR Anders Hazelius CAST Sofia Granath, Alex Alanko GENERATION Sweden 2013, 9’, Swedish/English ST

12.02. / 16:00 CinemaxX 5 14.02. / 22:00 CinemaxX 3

11.02. / 11:00 HKW Kino 2 14.02. / 17:00 HKW Kino 2

12.02. / 11:00 HKW Kino 2 13.02. / 20:15 HKW Kino 2

16.02. / 17:45 Colosseum 1 17.02. / 17:00 Kino International

15.02. / 11:00 HKW Kino 2 17.02. / 16:00 CinemaxX 5

15.02. / 14:00 HKW Kino 2 17.02. / 17:00 Kino International

Friday afternoon in a park in Jerusalem. Shabbat is about to begin and people are making their final preparations. The park is almost empty – apart from the gay cruising scene. A young man, Oren, needs to make a phone call, but he hasn’t got a mobile with him. He addresses a passing orthodox Jew but isn’t sure if the man has even understood him. But the cleric is after something else entirely. Oren acquiesces, caught between curiosity and fear, desire and danger. Then his lover appears; this is the man he really wants. The two go to his apartment where Oren again tries to make his phone call, this time with success. Their passion is delayed by his phone call, but not prevented.

An old man is dying. His carer Noel sits quietly by his side. Dina, the man’s granddaughter, appears in an animal costume. She raids the fridge and then goes off to have fun with her friends. When she returns late at night, her grandfather is dead. Dina and Noel lovingly stroke the man’s hands, comb his hair, smoke a cigarette, share a laugh and then go out into the night time city. Loud electronic music awaits them in a club. As the sun rises they leap into the sea’s clear, cleansing waters. Their night of farewell is also a new beginning. Dina and Noel finds unconventional cinematic means to portray the attitude to life among young Israelis.

The first time can be really hard, especially when you feel you’ve got something to prove to your mates. Alex and the others hang out at the beach, chatting and bragging. He tries to get closer to Sofia with a joke she finds totally unfunny. Nevertheless they go off together. A first awkward kiss, they lie in the grass, zips get undone. They both want something to happen but it simply doesn’t work out. Never mind, they think, but what will they tell the others?

27. TEDDY AWARD / www.teddyaward.tv

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JA KADA SAM BILA KLINAC, BILA SAM KLINKA WHEN I WAS A BOY, I WAS A GIRL DIRECTOR Ivana Todorovic CAST Gordana Mitrovic, Marina Mitrovic BERLINALE SHORTS Serbia 2013, 30’ Serbian/English ST

NOT BLACKING OUT, JUST TURNING THE LIGHTS OFF

O PACOTE THE PACKAGE

DIRECTOR James Richards FORUM EXPANDED United Kingdom 2012, 17’ English/English ST

DIRECTOR Rafael Aidar CAST Jeferson Brito, Victor Monteiro, Thaís Oliveira GENERATION Brazil 2012, 18’ Portuguese/English ST

13.02. / 15:30 Kino Arsenal 1

12.02. / 11:00 HKW Kino 2 13.02. / 20:15 HKW Kino 2

14.02. / 16:00 CinemaxX 5 17.02. / 17:00 Kino International

16.02. / 16:00 CinemaxX 5

15.02. / 14:00 HKW Kino 2 17.02. / 17:00 Kino International

Goca is a transvestite in Belgrade, the capital city of a country where organising or partcipating in a gay pride parade is forbidden. She is raising a daughter who is really her niece. Although her eighteen-year-old boyfriend steals the money she risks life and limb to earn as a sex worker, Goca still loves him and manages to retain her sunny, openminded nature. On her thirty-ninth birthday she decides to celebrate her coming out on stage in front of a live audience. And so she tells them the story of her life: when I was a boy, I was a girl.

The video examines the role of intimacy in relation to desire and physical proximity. Using images and sounds that are surrogates for the liquidity or porosity of the body, of being inside and outside, it slips between the sensual image and its abstraction.

© James Richards

11.02. / 22:00 CinemaxX 3 12.02. / 17:45 Colosseum 1

44 Kindly supported by Harald Christ

At a new school Leandro meets the lively Jefferson. They form an instant attachment and soon realise that theirs is no ordinary friendship. But Jefferson has to tell Leandro something and he is clearly struggling to get it out. Leandro enquires further, hoping it’s some kind of a joke. Except Jeff doesn’t look like he’s joking. If they want to be together there’s one irreversible thing Leandro must deal with: Jeff is HIV positive.


27. TEDDY AWARD / www.teddyaward.tv

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TA AV MIG UNDRESS ME

THE RUNAWAY TROUPE OF THE CARTESIAN THEATRE

TWO GIRLS AGAINST THE RAIN

DIRECTOR Victor Lindgren CAST Jana Bringlöv Ekspong, Björn Elgerd BERLINALE SHORTS Sweden 2013, 15’ Swedish/English ST

DIRECTOR Lior Shamriz FORUM EXPANDED Germany 2012, 18’, English/Without ST

DIRECTOR Sao Sopheak PANORAMA Cambodia 2012, 11’ Khmer/English ST

13.02. / 16:00 CinemaxX 5 14.02. / 17:45 Colosseum 1

13.02. / 15:30 Kino Arsenal 1

11.02. / 20:00 CineStar 7 (Premiere)

15.02. / 22:00 CinemaxX 3 17.02. / 17:00 Kino International

16.02. / 16:00 Cinemaxx 5

12.02. / 14:30 CineStar 7 16.02. / 12:00 CineStar 7

© Lior Shamriz

17.02. / 17:00 Kino International

Night. Two people – a man and a woman – meet. Above all else, their attraction for one another is palpable. Their attraction and their desire to kiss, and more. „My place, or yours?” A journey begins through the city’s empty streets. He caresses her, wants to kiss her. „You’re the first …” he whispers into her ear. But surely she isn’t his first woman? „ … who is taller than me and who has a deeper voice.” „I had an operation, three years ago.” After his initial shock, curiosity gets the better of him. He wants to touch her but she withdraws. „You’ve got breasts, I’ve felt them. Can I see them?” „Here?”„Yes, there’s nobody around.” „But it’s cold … can I see your dick?” „Here?” „If I have to show you my breasts, I should be able to see your dick.” Plenty of viewing and gazing occurs during this night. Desire will always find a way. But who is creating who, and what will remain?

46 Kindly supported by Harald Christ

A person of undefined gender and ethnicity is sent by a German cultural institution to a city in China, where s/he experiences a cruel conspiracy against her/his loved one.

A captivatingly courageous and touching film about a lesbian couple in Cambodia. The two women have known and loved each other since the time of the Khmer Rouge. The deep bond existing between them and their strength have helped them overcome all different kinds of resistance, including that of their families.


17.2. / 17:00 Kino International Ja kada sam bila klinac, bila sam klinka Ivana Todorovic, 30’ Första gången Anders Hazelius, 9’ Two Girls Against the Rain Sao Sopheak, 11’ Ta av mig Victor Lindgren, 15’ O Pacote Rafael Aidar, 18’ Beshivhey Hayom Oren Adaf, 20’

10.2 / 16:00 CinemaxX5 (A)* For Accreditation Only The Runaway Troupe of the Cartesian Theatre Lior Shamriz, 18’ Ja kada sam bila klinac, bila sam klinka Ivana Todorovic, 30’ Första gången Anders Hazelius, 9’ Two Girls Against the Rain Sao Sopheak, 11’ Ta av mig Victor Lindgren, 15’ O Pacote Rafael Aidar, 18’ Beshivhey Hayom Oren Adaf, 20’ Not Blacking Out, Just Turning The Lights Off James Richards, 17’ 27. TEDDY AWARD / www.teddyaward.tv

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48 Kindly supported by Harald Christ


WIELAND SPECK Wieland Speck is director of Panorama since 1992. In the 70s he started working on video and film projects and was a writer and publisher. In his work he focuses on the men’s movement and homosexual identity. He is director, author and producer and has worked for several film institutions and events and has also taught at universities and film institutes.

by Philipp Schmidt

How are you? How is the atmosphere at the Panorama and the TEDDY at the moment? W: We are shortly before going to the printers. That’s always an exciting moment because most of the work of the last months is culminating just now and we are trying to get rid of the last little mistakes that might be hidden in the material that we are preparing for each single film. But programmwise we are done and we can look forward to a good festival and a good queer programme in the festival as well. Filmwise the world is not in a bad state. One could even say especially North America is back with innovative films. They were kind of opportunistic over the past decade during the Bush government and it took a while apparently but now we have more American independent films than in a long time. This reminds us almost on the mid 80s to early 90s when American cinema was one major leg of the programme. And especially also for queer issues. So that’s exciting. The other exciting thing is that Central and South America are also very strong, so all the Americas are represented prominently in this year’s selection and have interesting works to offer. You were talking about the situation of independent productions in the United States and the Americas in general. What can you say about the situation of queer movies worldwide? Definitely not worse maybe not better. Difficult to say. But we have a good selection of quality films. More or less from all over the world. Even Africa is represented – Africa, which is the most troubled child for queer people. But not only for queer people as we know. From Cameroon we have a film on the situation of gays and lesbians in that country. I think we have movies from all corners of the world. Even a Georgian film with a very sensitive tone concerning men’s relationships and how that world reacts to it. So it is exciting to see how different cultures slowly but surely step up and show something of their queer population. Like a short film from Cambodia for example about two lesbian

women. It is very motivating to see the world stepping into a better direction bit by bit. That’s at least how it feels. Even though everybody thinks it’s getting better all the time or it’s continuously getting worse – depending on how you look at the world - when you focus on the queer situation you can see progress. We still have of course many places where nothing got better yet. Still, women, usually in the forefront for women’s and human rights, are in many places in a stronger position now than they were 5 years ago. And that always gives an indication that also for queer people something is changing. You’ve already been talking about this year’s TEDDY films in general. Can you say something about them a bit more detailed? What’s in the selection? Well, as the TEDDY started and wanted it to happen: Every section nowadays has some queer films to offer for the TEDDY Jury and the audience in Berlin. And of course for the market people that come for queer films from all over the world. That’s another point why Berlin has become the important place, all the buyers and distributors of queer films come to Berlin to see what’s new. We have an amazing film from Poland, our neighbouring country which is famous for being a homophobic place, maybe not as homophobic as Serbia from where we had last year PARADA, but almost as homophobic I would say. Our friend Malgoska Szumowska, she is for the third time in Berlin in the festival, two times in the Panorama – created amazing heterosexual stories that looked very sharply into the role of men in a way that heterosexual men usually felt uncomfortable. Now she brings W imię... (In the Name of) to competition, the story of a gay priest who is busy in dealing with delinquent youth and at one point his homosexuality becomes relevant. It’s a very interesting way of dealing with a subject matter which in that particular catholic country definitely is scandalous. We have another religious film from France in competition, LA RELIGIEUSE, in which Isabelle Huppert plays an abbess trying to seduce another woman, the main figure of the film. So we have several interesting moments where sexuality hits religion and in these two that I just mentioned it is 27. TEDDY AWARD / www.teddyaward.tv

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homosexuality that hits religion. It’s in the air, so to say, because religion has pushed itself so much in the foreground over the past years that of course one has to deal with the subject matter and I am happy that the subject matter is dealt with in a mostly intelligent and critical way – at least in the films that we have picked.

Concussion © David Kruta

Boven Is Het Stil © Victor Arnolds

Can you point out some of this year’s highlights? No matter if you look at the documentaries or at the fictions films it’s quite satisfying what we have been able to put together from thousands of entries, even though there is some frustration because we found more good films than we can actually program. The opening film in Panorama Special this year comes from the Netherlands, BOVEN IS HET STIL (It Is All So Quiet), which depicts a situation which we find in several films this year: set on the country side, in a remote place. The central figure is a farmer, brilliantly played by Jeroen Willems - who actually died shortly after the film was shot. This farmer is in his early 50s and his father is dying. We see the relationship and how he takes care of his father, but it is not a loving relationship at all. The father does not accept his son; we don’t know yet why, we sort of find out later when a tank truck driver comes by to collect the milk and is totally interested in seeing the farmer, while the farmer is hiding and waits until he charged the milk and leaves. There is a lot of sexual tension and frustration, the encaged emotional life of men in general piling up on this farmer and it is very touching and visually very strong, cinematographically – and that’s how we have chosen to open up in Friedrichstadt-Palast on Friday February 8th.

backs out and discovers sex with prostitutes only to become one herself. For women only of course. That is an exciting look on the young urban professional developments, because it doesn’t need to mean that the family gets destroyed, maybe it rather prolongs its durability! Another twist brings the re-discovery of Burlesque, which was in its center basically striptease for heterosexual men in the puritan anglo culture. This kind of very conservative thing has turned into something extremely provocative over the past years in New York – and we have some of the most amazing performers in the film EXPOSED and probably we are also going to have some of the performers in Berlin. Yet another topic is explicit sexuality in film, we see it developing for a couple of years now. Panorama presented several examples over the time - not so much of it this year, maybe because it is not such a sensation anymore. Of course it should be part of the culture, and for Americans this is still quite a step to take. This was also the thought of James Franco who won the Best Short TEDDY 2010 for The Feast Of Stephen. He had the idea to look back on the film CRUISING by William Friedkin, which we showed 1980 in the competition here in Berlin. And there were gay protests against the film because many gay men at that point – especially from the leather scene – said we don’t want to be portrayed like this – because the film was about homicide within the leather scene of New York. At that time Manfred Salzgeber, who founded Panorama, was against the film and I was for the film. Laughs. I remember we had this discussion and I said, it must be possible to portray gay people in all kinds of ways - because I did not see it as a homophobic film at all. Back then 40 minutes had to be cut out of the film in order to get it released in the cinemas. And these 40 minutes stirred the fantasy of James Franco and he got together with Travis Mathews as co-director for INTERIOR. LEATHER BAR, recreating those 40 minutes that had ended up on the censorship floor in the late 70s and were lost since. This is quite an interesting thing to perceive, because how do you portray a leather scene set before AIDS today and how do you get the actors to do that? So they were discussing with the actors and everything and some of them basically didn’t want to show their dicks in the movie because it could hurt their career as an actor – but James Franco is written all over the production, so it should be fine... This kind of very uncomfortable situations – you see, today’s people are less underground, they are more oriented in having a career than back then. Back then everything was quite sassy and fresh compared to how you deal with it today. Franco also gives a great explanation why he is interested in this theme today, so it’s like a laboratory experiment-documentary, fictional-fantasy on the subject matter.

Baek Ya

One film from Korea, BAEK YA (White Night), deals with not letting go of the trauma that a young man sustained when he was attacked by homophobe youth in Seoul. He is a flight attending now back for one night and he wants to take revenge – and he does. Taking revenge, not letting things sit in your emotional luggage so to speak is a very important point these days, I think. Because all queer people have experienced insults, discrimination or even life threatening situations. And going back to these experiences, learning that it was not your fault, and knowing what your rights are and going for those rights is definitely something we all have to learn again and again and again. Another topic is a fresh look on family, like in the US film CONCUSSION. It’s the story of a middle-class couple, two women, two kids, financially everything works fine – because the world is designed that way that it works out financially for couples. But suddenly in the middle of your life you realize something is missing, this could not have been it. And this is exactly where one of them

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Will You Still Love Me Tomorrow?

Vic + Flo Ont Vu Un Ours © Yannick Grandmont

Of course we also have queer films from other regions of the world, from Taiwan we’ll show WILL YOU STILL LOVE ME TOMORROW?, a very light elegant comedy type story of a man who once led a gay life, then felt so uncomfortable being gay that he started a heterosexual life and now he realizes he cannot pull it through and drifts back to gay life. The way the story is told challenges lots of family issues and handles them in a very open and smart way, which will give this film definitely the medal of helping lots of people around to understand and get a wider view on family life in general.

Côté for example, VIC + FLO ONT VU UN OURS (Vic&Flo saw a Bear), which is a tough and piercing lesbian story and is shown in the Competition programme. So the Competition is this year quite equipped with gays and lesbians which is fun to talk about. Nevertheless the most interesting stuff has still a touch of underground.

It seems that you have a very wide range of movies and also a big amount of movies. Looking at the last years it seems to become more and more. Do you see a general development in there? Is it possible to say that there are infrastructures now that make it possible for queer movies to be produced and distributed around the world?

Jean Marais as we know him of course grew out of the head of Jean Cocteau one could say and the fantasy that is depicted in the wonderful picture Berlin painter Rinaldo Hopf has created, shows Jean Marais in Orphée by Cocteau. He is actually loving himself, it’s a narcissistic icon when he leans with his head towards a mirror and this mirror becomes permeable and he can transcend through the mirror at one point. Jean Marais was president of the Golden Bear Jury 1985 - and this is when I first met him and I remember I met him at the very opening party. All of a sudden I stood in front of him, surrounded by many people of course. And I am really tall and he is really short, so I went down on my knees. I won’t forget that moment. He was absolutely charming. And of course he knew that Cocteau was his director of all directors. It was almost like Visconti and Helmut Berger in a way. With Cocteau he was just a fantastic figure. And of course I loved FANTÔMAS, the whole series, although he was disguised with a green rubber mask.

Well, definitely we have a better infrastructure then ever. But sometimes I wonder why for example in Berlin there is no well functioning serious queer film festival. We had a lesbian film festival for a while, we had a commercial queer film festival which was more commercial than the Berlinale but we don’t have one that does exactly the work a queer film festival should do. How shall I put it? Well, we don’t do the work of a queer film festival. We bring the most important queer films from the last 12 months to Berlin in order to give them a life internationally. That’s not the same thing what a queer film festival does. In this context the development of the XPOSED festival is to be mentioned. This festival jumps into the gap but has its own approach: experimental film. Which is supported by the TEDDY from the beginning and has developed very well over the last three years. Also surely the octopus of the data world of the Queer Academy will stretch out its arms further. There data are being collected and made accessible for queer film programming to preserve our unwritten history. This is also a TEDDY idea and supported by the Panorama. Those are initiatives which keep the effort alive and will prosper in the long run. But this is not necessarily connected to the idea that it needs a queer film festival which is of the size of the big international queer film festivals. Those are to be found in Hamburg and San Francisco and Los Angeles – but not in New York and not really in Berlin. So I would be happy to see a better structure in Berlin - even though of course we have a great number of cinemas in Berlin running a wide range of films throughout the year, including the famous Arsenal and the “mongay” series every monday in Kino International, also a TEDDY co-presentation. But worldwide we can say there is a quite good infrastructure that has grown, and the TEDDY Jury is just one tool to enhance it. Nevertheless it is still a fight and you can still see that most of the time films with queer issues are the cheaper productions for example. Alright, you can say it is a minority and it only addresses up to 35% maybe of the possible audience and so this also is to be seen in a budget that is up for a film. But you also have filmmakers who are not from the queer world and they take on queer themes. For example a film from Brazil: Bruno Barreto who was several times in Berlin with his films, in Competition and in Panorama, tells us the story of Elizabeth Bishop the famous US poet, who had a lover in Brazil. This film looks stunningly polished in pastel 50s colours because it is set in this time and also features a more experimental look on family. So you also have these kinds of queer mainstream stories nowadays because everybody seems to have understood that queer people are part of it and that gives a new approach of course also from people that don’t come from the queer underground. Another great lesbian film is by Canadian Denis

This year on the TEDDY poster there is a picture of Jean Marais. Can you tell us a bit more about the role and the importance of him?

Who did not like it?! Yes! Laughs. You were talking about Rinaldo Hopf and he made these pictures called Golden Queers and he also talks about the “Queer Family” which he wanted to have portrayed in his artwork. And also Dieter Kosslick, the director of the film festival, mentions the “Queer family” in his foreword. What do you think about it? It’s as much family as we want it to be. And a chosen family never ever falls from heaven, you always have to make members of your own families become friends. If this does not work, every blood family is hell. I see it under this aspect and I think terms like solidarity and tolerance are also necessary within a family, it’s not only something that unites us because the outside world does not provide it and we have to fight for it, it is also that we need it inside. And of course the more emancipated a society is, the less you have that feeling of family and then you have subfamilies and they might not be interested in each other. And the commercial world of course tries to take advantage and tries to sell certain items to certain target groups etc. The creation of family is also connected to a lot of lies, that is for sure. No family is without terrible secrets – and this is why we have cinema, because most of the films are actually dealing with issues like this. Laughs. And I guess with the “Queer family” it’s not a bit different. So we have to work on being friends with each other and also see what is necessary, what others need: We had this moment in the mid 80s when HIV/AIDS for the first time was understood as a terrible deadly illness that hits gay men. This was a moment when the gay scene in general in the western countries was not very solidary, it was totally in the hands of commercial enterprises and it was just party – and politics were basically forgotten. 27. TEDDY AWARD / www.teddyaward.tv

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Politics that had led to the situation that you could forget them for a moment, but that also was forgotten. And at this point came this deadly illness and that has brought people back together again, in the fight for politicians recognizing that they have to do something; because they did nothing as long as they saw it as a queer disease. At the same time it brought gays and lesbians closer together. At that time gays and lesbians were two different worlds, which is not an unnatural thought, because, I mean, no woman needs men less than a lesbian – and vice versa. So why should they deal with each other. It’s a very intellectual and political achievement that these two groups work together. This is also why the TEDDY has become one of the first big structures that was for gays and lesbians together, as we called it back then. Of course the first festivals were gay festivals, the gay-lesbian union was the next step and then came the trans – and now we say queer. Sometimes we have to explain to ourselves what queer means because it became such a big umbrella that all of a sudden

everybody seems to fit under it. Which can be nice, but you also need subcultures to develop a special view on the world and maybe, sometimes, to achieve something, you have to be specialized and also keep other influences out. So I think under the umbrella of “queer” we will develop, hopefully, lots of subcultures again that also stand for themselves, but with the understanding of the togetherness that the term “queer” provides for us. So that’s my view on how the western world could develop but also the western world has become much wider than it used to be, because the eastern world is participating much more and is much more active now. Let’s work on getting the Southern World to join! Wieland, thank you for the interview. My pleasure.

Jodie Foster (*1962) „Loud and proud. I am – single.” The American actress Jodie Foster was on camera for the first time when she was only three years old. At the age of 13, she had a role in Martin Scorsese’s film TAXI DRIVER (1976) together with Robert De Niro and was nominated for the Academy Award for the first time. In 1989, she was awarded her first Oscar for her acting as a victim of rape in the movie THE ACCUSED (1988). In Jonathan Demme’s movie THE SILENCE OF THE LAMBS (1991), she played FBI agent Clarice Starling, which she received an Oscar as Best Actress in a Leading Role for. After Jodie Foster had been the victim of stalkers several times, she started on separating her private life from the public. In 2007, however, she made her long-term relationship with Cydney Bernard public. In 2013, Jodie Foster was awarded the Golden Globe Lifetime Achievement Award and held a moving not-coming-outspeech on this occasion. Die amerikanische Schauspielerin Jodie Foster stand bereits mit drei Jahren zum ersten Mal vor der Kamera. Mit 13 Jahren spielte sie an der Seite von Robert De Niro in Martin Scorseses TAXI DRIVER (1976) und wurde zum ersten Mal für den Academy Award nominiert. 1989 erhielt sie ihren ersten Oscar für ihre Darstellung eines Vergewaltigungsoper in dem Film THE ACCUSED (1988). In Jonathan Demmes Film THE SILENCE OF THE LAMBS (1991) spielte sie die FBI Agentin Clarice Starling und bekam für diese Rolle ebenfalls den Oscar als beste Hauptdarstellerin verliehen. Nachdem Jodie Foster mehrfach Stalkern zum Opfer gefallen war, begann sie ihr Privatleben nahezu vollständig von der Öffentlichkeit abzuschotten. Im Jahr 2007 machte sie jedoch indirekt ihre langjährige Beziehung mit Cydney Bernard öffentlich. 2013 wurde Jodie Foster mit dem Golden Globe Lifetime Achievement Award geehrt und hielt eine bewegende Nicht-Coming-Out-Rede.

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HUMAN RIGHTS WATCH LGBT Rights:

Good News and Bad News, But Keep On Fighting by Boris Dittrich

Human Rights Watch was the first international mainstream human rights organization to start a program focusing on the rights of lesbian, gay, bisexual and transgender (LGBT) people. That was 10 years ago. In the course of these years we have researched and documented many human rights abuses against LGBT people all over the world, from Europe to Africa, from Asia to Australia and the Americas. And how different the world has become for LGBT people in the last decade! Unfortunately, though, in many parts of the world human rights abuses based on sexual orientation and gender identity are still rampant or are even getting worse. Let’s start with the bad news. In 2013, there are still 76 countries, out of the 193 UN member states, that criminalize homosexual conduct. In many of these countries -- Jamaica, Malaysia or Cameroon, for instance -- society at large is very homophobic and politicians choose not to show leadership, but to hide behind the majority.

Steven Monjeza (L) and Tiwonge Chimbalanga sit in a pick-up truck before appearing at a magistrate court in Blantyre January 4, 2010. © 2010 Reuters/Eldson Chagara

In Cameroon a man sent a text message to another man, saying, “I love you.” He was arrested and sentenced to three years in prison. His lawyer, an idealistic heterosexual man who believes in upholding human rights standards, defended him. Soon afterward, he and his wife and children received death threats. He turned to the Cameroon Bar Association for help. Their response: “Stop defending those homosexuals.” His family was forced to leave the country. In Malaysia transgender women are arrested while walking on the street because they violate the Sharia law prohibiting cross dressing. They are ordered to strip naked at the police station so their bodies can be searched, and their clothes are kept as evidence of cross-dressing. They are locked up in a male facility, where they face serious abuses from other inmates and sometimes from prison guards. In Jamaica many gay men or transgender women have been murdered. Violent mobs are out to kill them. Often the police does not protect the victims. Even when they try, they don’t always succeed, and the killers are seldom caught. That’s what you get in Jamaica for loving someone of the same gender. In South Africa many lesbian and gender non-conforming women in rural areas and townships have been sexually abused, raped and even murdered. Human Rights Watch reports these crimes, exposes the lack of government protection and addresses the issue at the national, regional and international level. www.hrw.org/lgbt Supporting LGBT rights is often a matter of life and death. LGBT rights are not something special. LGBT rights are human rights. We are talking about the right not to be discriminated against, not to be charged with a crime because of one’s sexual orientation or gender identity. The right to privacy, to health care, to work, to housing, to education. The right to freedom of expression, association and assembly, the right to found a family. Human rights are universal. No exceptions made. Day and night, everywhere. Closer to home, in Europe, we also see ardent discrimination and human rights abuses. In Russia many regions adopted a law banning all advocacy around homosexuality. Wearing a T-shirt supporting lesbian parents gets you arrested! The legislation was also introduced in the Ukrainian parliament. And in Moldova several cities declared themselves “a gay-free zone.” In some European countries, when LGBT people and their allies want to demonstrate for fundamental rights, they are denied their freedom to speak out and gather. Even within the European Union a country like Lithuania denies the LGBT movement the right to organize a Baltic Pride Parade in the center of Vilnius, while the city government invites other groups to march along those very same streets. 27. TEDDY AWARD / www.teddyaward.tv

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So, how do things stand for LGBT people around the world? It is a mixed bag with positive and negative developments. One thing is certain. LGBT people and their straight allies cannot sit back and relax. Change doesn’t come automatically. Everyone can help improve the lives of LGBT people, far away and close to home. There are many ways to do so, from speaking up against homophobic remarks at work or in school, to financially supporting organizations like Human Rights Watch. The future is not in front of us, it’s inside of us! Boris O. Dittrich, Advocacy director LGBT rights program Human Rights Watch boris.dittrich@hrw.org

© Ed van Rijswijk

What we see is that virulent resistance against homosexual relationships and full rights is driven by some religious groups. They pretend to speak on behalf of everybody who adheres to their religion, but within every religion there are also LGBT-friendly allies. To move forward it is important to seek dialogue with them. There is also good news though! In 2007 three predominantly Roman Catholic countries, Argentina, Brazil and Uruguay, introduced an important document at the United Nations in New York about international human rights law in relation to sexual orientation and gender identity. This landmark document is called the Yogyakarta Principles. Since then things have been moving fast at the United Nations. In 2011 South Africa introduced the first resolution at the UN Human Rights Council condemning violence and discrimination against LGBT people. The high commissioner for human rights published the first official UN report on this issue, advising those 76 countries to de-criminalize homosexual conduct and other discriminatory laws. The rights of transgender people were explicitly mentioned in a resolution on extra-judicial killings in 2012. UN Secretary-General Ban Ki-moon regularly speaks out to condemn violence and discrimination against LGBT people. On his visits to Africa he advocates decriminalizing homosexual conduct and overturning other unjust laws. Many LGBT-friendly countries at the United Nations are working with South Africa to continue securing true equality and non-discrimination in the world. In 2013, I anticipate that there will be more good news to come. Words and UN documents do have a meaning. They inspire people to stand up for their rights. Last, I would like to mention a positive development around marriage equality. Same sex marriage was first introduced 12 years ago close to Germany, in the Netherlands. Since then, 10 other countries followed suit. Several states in Mexico and the United States of America are on board. In November 2012 people in three US states voted in a referendum in favor of same sex marriage. And more countries are close to implementing marriage equality, France, United Kingdom and New Zealand.

Boris Dittrich was a lawyer, a judge and a member of parliament in the Netherlands for over 12 years. He initiated the first same sex marriage bill in the world. He was leader of his political party, left the Netherlands in 2007 to become advocacy director for the Lesbian, Gay, Bisexual and Transgender Rights program at Human Rights Watch in New York. From May 2013 he will live and work for Human Rights Watch in Berlin, Germany. Dittrich is also an author. His latest novel “Lying the Truth” will be published in the Netherlands in February 2013.

Karen Dixon and Nan Schaffer marry in Canada, 2008.

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DJ Swingin’ Swanee

© Stefan Malzkorn

DJ Swingin’ Swanee bietet als weltweit einzigartiger «Swing & Golden Era»-DJ das breitgefächerte Repertoire der 20er bis 50er Jahre an. Neben ihrer DJ- und Conferencier-Arbeit, moderiert sie Radiosendungen und vermittelt auf Veranstaltungen Einblicke in das Leben und die Zeit der Swing-Protagonisten. Seit Jahren streift sie immer wieder durch New York, Chicago, San Francisco oder London auf der Suche nach neuen Raritäten. Swingin’ Swanee lebt ihren Stil konsequent, trägt nur Originalanzüge und Kleider – gerade so als wäre sie einem klassischen Hollywood-Movie der 30er/40er Jahre entsprungen: Fedora-Hut, Gangster-Suit, Two-tone Shoes.

Pet Shop Bears

Das Pet Shop Bears-DJ-Team hat sich dem discohousigen Schwulipop «von fozig bis kozig» verschrieben! Konzept und Musik gingen auf, und so ziehen die Macher der erfolgreichen Partyreihe, Justin Case und Open Mike, monatlich Heerscharen von Bartmädchen auf die Tanzfläche der Berghain «Cuntine».

© Sally-B

Mit fluffigen Diskosounds bewegt Daniel Wang nicht nur die Tanzflächen Berlins, sondern auch weit darüber hinaus. Der gebürtige Amerikaner mischt Elemente von Jazz und Italo-Disco gekonnt unter seine groovigen Sets! Seit 10 Jahren nennt er Berlin seine Heimat und belebt als DJ und Produzent.

© Antonio Ferreira

Daniel Wang

Justus Köhncke Justus Köhncke hat sich nicht nur als DJ einen Namen gemacht, sondern war auch Teil des House-Trios Whirlpool Productions, die 1997 den Nummer-1-Hit «From Disco To Disco» landeten. Im Jahr 2012 nahm er sich einer Hommage an Hildegard Knef an und hauchte den Stücken der Diva mit Elementen aus Disco und Minimal neues Leben ein. In seinen Produktionen kombiniert er minimalistische Techno-Stücke mit Elementen aus Disco und Krautrock.

Gloria Viagra

© S.A.R.A

Gloria Viagra ist die größte Drag Queen Berlins und weit über die Grenzen auch in Spanien, Israel uvm. bekannt. Gekonnt verbindet sie Glamour und Trash mit politischem Engagement. Zudem singt sie in ihrer Band SqueezeBOX und wurde erst kürzlich LIVE im TV von Robbie Williams geküsst. Im Januar 2013 feierte Gloria das 2-jährige Jubiläum ihrer eigenen SchwuZ-Partyreihe. Monatlich präsentiert sie bei «Partysane» eine wilde Mischung aus DiscoElectro, Rotz’N’Pop und Urbansounds. Ein Teil des Eintritts wird nach jeder Party über den «Partysanegroschen» an gemeinnützige Vereine und Projekte gespendet – z.B. jetzt im Februar an den TEDDY e.V. – erste Sahne!

Dejai Modeopfer

© Martin Landsmann

trust.the.girl

60 Kindly supported by Harald Christ

© Guido Woller

Modeopfer ist seit Jahrzehnten eine feste Institution im Berliner Nachtleben. Als Resident-DJ ist er zudem seit vielen Jahren «Partykapitän» und Veranstalter der Retro-Party «bump!» im SchwuZ. Seine Musik thront zwischen Schlager, 70iesDisko und aktueller Popmusik. Doch auch als Drag Queen Camelia Light besteigt er die Diskobühnen der Stadt und moderiert, interpretiert und travestiert frech, aber mit Charme! Da bleiben keine Augen trocken und keine Füße still.

Ein buntes Huhn, wie es bunter nicht sein kann. DJane trust.the.girl macht alles was Spaß macht und kann von Rock über Elektro bis Pop alles! Sie ist Resident-DJane im Magnet sowie bei der SchwuZ-Mittwochsparty «Populärmusik». Doch auch bei «L-Tunes» und «Search And Destroy» ist sie immer wieder dabei und treibt die Massen auf die Tanzfläche. Vertrauensvoll legen wir deshalb auch die TEDDY-Party in ihre Disko-Hände.


John Cameron Mitchell John Cameron Mitchell’s Mattachine Is The Queerest, and Coolest, Club Ever LA WEEKLY Der Star aus Hedwig and the Angry Inch und der Regisseur von Shortbus bringt uns seine Queer Dance Party Mattachine nach Berlin! John Cameron Mitchell, Theaterkünstler, Filmemacher, Schauspieler, Autor, Sänger, Drag Star, radikale Fee und DJ, ist auch eine Art inoffizieller queerer Historiker. Seine Dance Night Mattachine ist benannt nach der Mattachine Bewegung, einer pink-kommunistischen Schwulenrechtsgruppe, die bereits 20 Jahre vor dem Stonewall Aufstand ins Leben gerufen wurde. Die Mission der Mattachine Gesellschaft war es „ethische schwule Kultur zu fördern“ in einer Zeit, in der schwul sein illegal war. Mit seiner Clubnacht, sagt Mitchell, versucht er „den Mattachine Vibe zurück zu bringen. Wir spielen nicht nur viel alte Musik, sondern auch das Gemeinschaftsgefühl: freundlich, sozial, nicht altersdiskriminierend...“. Die DJs bei Mattachine – Mitchell gemeinsam mit den Shortbus Stars PJ DeBoy und Paul Dawson – gefällt es auch die Songs auszuspielen „statt nur den 15-sekündigen Höhepunkt“, sagt Mitchell. „Uns geht es darum, das ganze Lied zu spielen, langsam zu tanzen, Genres zu mischen, Sexualitäten zu mischen und auch darum, unsere queeren Vorfahren zu feiern“ – Musiker_innen, Künstler_innen, Aktivist_innen.

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Acknowledgement / Dankeschön

The TEDDY foundation thanks its patrons and prize money donators. Without your kind support our work would not be possible! Der TEDDY e.V. bedankt sich bei seinen Mäzenen und Preisgeldspendern, ohne Ihre freundliche Unterstützung wäre unsere Arbeit nicht möglich! Apotheke am Viktoria-Luise-Platz / Bamberger Reiter Restaurant / Berghain / Stephan Binder / Bräunig & Co., Oliver Bräunig / Brillant Augenoptik / Böhme, Lipp, Lutz-Zahnärzte / Café Stolz & Vorurteil / Das Finanzkontor / Edition Salzgeber / Wolfgang Erichson, Bürgermeister Heidelberg / Serafin Fernández Rodriguez / gayParship / GENFILMS Production Ltd. / Praxis Harald Genieser / Praxis Jürgen Graffe / Daniel Alexander Grauert / GOYA Berlin / Grüne Apotheke / Holzfachzentrum Potsdam / Drs. Jessen² & Kollegen / Michael Harckensee / Härting Rechtsanwälte / Klaus Koch / KU64 Dr. Ziegler & Partner Zahnärzte / Raimond Krúze / Matthias Landwehr / Gordon Müller-Eschenbach / Fred Peemöller / Queerlesque.de / Alexander Rosenberg / Pierre Sanoussi-Bliss / Pro-Fun Media GmbH / Quatsch Comedy Club /Jan Schneider / Schoppenstube / Klaus Schrader / Christian Schulz / Michael Schweizer / Dr. Paul Skidmore / Ulf Spengler / Frank Strobel / Dario Suter / Tom´s Hotel / Olaf Völzke / Martin Waßmann Special thanks go to CinePlus Media Service GmbH & Co. KG / Internationale Filmfestspiele Berlin/KBB / medienboard Berlin-Brandenburg / Harald Christ / BSCW Stiftung /  Buchladen Eisenherz / Regenbogenfonds e.V. / Kino International - Yorck Kino GmbH / elledorado e.V. / MB-Finanzberatung Gaby Büttner / Precisehotels - Myers Hotel / Schwermetall Schmuckdesign / SO 36 Café Fatal / Partysane / Schwuz

Venues / Veranstaltungsorte

Arsenal, Potsdamer Str. 2, 10785 Berlin - Berlinale Palast, Marlene-Dietrich-Platz 1, 10785 Berlin CinemaxX, Potsdamer Str. 5, 10785 Berlin - CineStar, Potsdamer Str. 4, 10785 Berlin Colosseum, Schönhauser Allee 123, 10437 Berlin - Cubix, Alexanderplatz Rathausstr. 1, 10778 Berlin Delphi Filmpalast, Kanstr. 12, 10623 Berlin - Friedrichstadtpalast, Friedrichstr. 107, 10117 Berlin Haus der Berliner Festspiele, Schaperstraße 24, 10719 Berlin - Kino International, Karl-Marx-Allee 33, 10787 Berlin (HKW) Haus der Kulturen der Welt, John-Foster-Dulles-Allee 10, 10557 Berlin Toni Weißensee, Max-Steinke-Straße 43, 13086 Berlin - Zeughauskino, Unter den Linden 2, 10117 Berlin

Credits / Impressum

The Programme Guide for the 27th TEDDY AWARDs appears on the occasion of the 63rd Berlin International Film Festival 2013, published by cine plus in cooperation with TEDDY e.V. and with the kind support of the Berlin International Film Festival/KBB. Das Programmheft zum 27. TEDDY AWARD erscheint anlässlich der 63. Internationalen Filmfestspiele Berlin 2013, herausgegeben von cine plus in Zusammenarbeit mit dem Teddy e.V. und mit freundlicher Unterstützung der Internationalen Filmfestspiele Berlin/KBB.

Publishers / Herausgeber

Elser Maxwell (V.i.S.d.P) und Thomas Malz cine plus Media Service GmbH & Co. KG Lützowufer 12, 10785 Berlin Tel: +49-30-26480-100 www.cine-plus.de www.teddyaward.tv

Production manager / Herstellungsleiterin Daniela Ricciardi

Editorial team and contributing authors / Redaktionsteam und Autoren

Robert Atkins, Boris Dittrich/ Human Rights Watch, Ninette Jänich, Eva-Maria Kusch, Dieter Kosslick, Philipp Sebastian Schmidt, Klaus Wowereit

Special Thanks to / Besonderer Dank an

Klaus Mabel Aschenneller, Christian Kamil Jankowski, Paz Lazaro, Bartholomew Sammut, Wieland Speck, Michael Stütz, Sascha Wiswedel

Translation / Übersetzung

Paul Skidmore, Philipp Sebastian Schmidt, Wencke Gubisch, Valentin Hoppe, Claudia Bödeker

Advertisements / Anzeigen Bernd Offermann, Annett Bors

Community relations

Ralph Ehrlich, Bernd Offermann

Press relations / Presse Anna Jacobi, Marie Gutbub

TEDDY 27 ART WORK Rinaldo Hopf

TEDDY 27 Poster Design Ilona Fritzsche

Design & Layout / Gestaltung & Satz Cabine, www.cabine.co.uk

Printed by / Druck

Wagemann Medien, Berlin

Copyrights / Rechte

The digital and analogue reproduction, storage, processing and any usage of these texts and images require a written approval from the publisher. Die digitale und analoge Vervielfältigung, Speicherung, Weiterverarbeitung sowie jegliche Nutzung der Texte und Bilder bedürfen einer schriftlichen Genehmigung durch den Herausgeber.

Distribution / Vertrieb

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

Disclaimer of Liability / Haftungsausschluss

We can not guarantee any of the published dates. All dates and information listed were last updated on January 24th, 2013. Für die veröffentlichten Termine können wir keine Garantie übernehmen. Alle Termine und Informationen entsprechen dem Stand vom 24. Januar 2013.

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.

62 Kindly supported by Harald Christ


27. TEDDY AWARD / www.teddyaward.tv

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TEDDY AWARD 2013