Matthias Glasner’s Dying was the winner of the top prize at this year’s German Film Awards, clinching the Golden Lola in the best film category along with a cash prize of €500,000 for the producers to invest in a future project.
The production by Port au Prince Film & Kultur Produktion, Schwarzweiß Filmproduktion and Senator Film Produktion, which had its world premiere in competition at this year’s Berlinale where it won the best screenplay Silver Bear, also garnered another three statuettes: Corinna Harfouch (best lead actress), Hans-Uwe Bauer (best supporting actor), and Lorenz Dangel (best film score).
Glasner’s family drama,...
The production by Port au Prince Film & Kultur Produktion, Schwarzweiß Filmproduktion and Senator Film Produktion, which had its world premiere in competition at this year’s Berlinale where it won the best screenplay Silver Bear, also garnered another three statuettes: Corinna Harfouch (best lead actress), Hans-Uwe Bauer (best supporting actor), and Lorenz Dangel (best film score).
Glasner’s family drama,...
- 5/6/2024
- ScreenDaily
Matthias Glasner’s epic dysfunctional family drama Dying has won the top prize for best film at the 2024 German Film Awards, the Lolas.
Dying was one of the critical favorites at this year’s Berlin Film Festival, where Glasner won the Silver Bear for best screenplay. The film stars Lars Eidinger as a classical conductor with an extremely dysfunctional family.
In addition to the top prize, Corinna Harfoch won the best actress Lola for her role in Dying, where she plays Eidinger’s sharp-tonged and cold-hearted mother. Her Dying co-star Hans-Uwe Bauer took best supporting actor, and the film also took the Lola for best film music for composer Lorenz Dangel.
Ayşe Polat took best director and best screenplay for In the Blind Spot, her twisty documentary-style conspiracy thriller set in modern-day Turkey. The film, which premiered in Berlin’s Encounters section last year, won the top prize at the Oldenburg Film Festival,...
Dying was one of the critical favorites at this year’s Berlin Film Festival, where Glasner won the Silver Bear for best screenplay. The film stars Lars Eidinger as a classical conductor with an extremely dysfunctional family.
In addition to the top prize, Corinna Harfoch won the best actress Lola for her role in Dying, where she plays Eidinger’s sharp-tonged and cold-hearted mother. Her Dying co-star Hans-Uwe Bauer took best supporting actor, and the film also took the Lola for best film music for composer Lorenz Dangel.
Ayşe Polat took best director and best screenplay for In the Blind Spot, her twisty documentary-style conspiracy thriller set in modern-day Turkey. The film, which premiered in Berlin’s Encounters section last year, won the top prize at the Oldenburg Film Festival,...
- 5/3/2024
- by Scott Roxborough
- The Hollywood Reporter - Movie News
Ten years ago, German director Tim Fehlbaum’s decent little post-apocalyptic sci-fi debut “Hell,” made two category errors that impacted its reach and longevity, both of which are corrected in his decent, slightly larger post-apocalyptic sci-fi follow-up, “Tides.” First, somewhat forgivably, “Hell” was in German, and so although a perfectly serviceable survivalist riff on “Mad Max,” outside German-speaking territories it got sidelined, with English-speaking mainstream and genre audiences notoriously hard to covert to subtitles. Second, he set it in 2016, which duly came and went trailing various varieties of disaster, but none of which instantaneously turned continental Europe into a desiccated wasteland patrolled by roving bands of scavengers.
“Tides” is in English, and set at a time when a matchbook commemorating 100 years since the moon landing is a family heirloom passed down from a grandfather — in other words, far enough in the future that no one can impugn its powers of prophecy,...
“Tides” is in English, and set at a time when a matchbook commemorating 100 years since the moon landing is a family heirloom passed down from a grandfather — in other words, far enough in the future that no one can impugn its powers of prophecy,...
- 3/2/2021
- by Jessica Kiang
- Variety Film + TV
Directed by: Tim Fehlbaum
Written by: Tim Fehlbaum, Oliver Kahl, Thomas Wobke
Featuring: Hannah Herzsprung, Stipe Erceg, Angela Winkler, Lisa Vicari, Michael Kranz, Lars Eidinger
For quite a while now, environmental horror has been the province of mostly North American productions. For some reason, the apocalypse just doesn't seem quite as popular in Europe. But that changes with Tim Fehlbaum's feature debut, the 2011 post-global warming potboiler, the rather amusingly titled Hell (in some parts of the world it's been released as the even more generic Apocalypse). Produced by Roland Emmerich (of course it is), Hell is a good deal less stupid than Emmerich's own 2012 or The Day After Tomorrow, but it never quite gets out of second gear.
A hurried text piece sets up the story: In 2016, a series of massive solar flares have raised the earth's temperature by 10 degrees Celsius and made the sun burn brighter than ever.
Written by: Tim Fehlbaum, Oliver Kahl, Thomas Wobke
Featuring: Hannah Herzsprung, Stipe Erceg, Angela Winkler, Lisa Vicari, Michael Kranz, Lars Eidinger
For quite a while now, environmental horror has been the province of mostly North American productions. For some reason, the apocalypse just doesn't seem quite as popular in Europe. But that changes with Tim Fehlbaum's feature debut, the 2011 post-global warming potboiler, the rather amusingly titled Hell (in some parts of the world it's been released as the even more generic Apocalypse). Produced by Roland Emmerich (of course it is), Hell is a good deal less stupid than Emmerich's own 2012 or The Day After Tomorrow, but it never quite gets out of second gear.
A hurried text piece sets up the story: In 2016, a series of massive solar flares have raised the earth's temperature by 10 degrees Celsius and made the sun burn brighter than ever.
- 2/18/2013
- by Dan Coyle aka Deadpool
- Planet Fury
The New York Times runs two must-reads this weekend. With Jacques Rivette's Céline and Julie Go Boating (1974) opening at Film Forum on Friday, Dennis Lim writes, "It's not just that the film holds up to repeat viewings; its very point is its seemingly infinite repeatability, its mysterious capacity to surprise both first-time viewers and those who know it as well as a magician reciting an incantation." He goes on to consider Céline within the context of Rivette's oeuvre and its lasting impact on filmmakers as diverse as Susan Seidelman and David Lynch.
"Shirley Clarke is one of the great undertold stories of American independent cinema," writes Manohla Dargis at the top of piece on Milestone Films' multi-year project to restore and revive interest in Clarke's work. The Connection (1962) opens Friday at the IFC Center and soon to follow will be theatrical and DVD releases of Robert Frost: A...
"Shirley Clarke is one of the great undertold stories of American independent cinema," writes Manohla Dargis at the top of piece on Milestone Films' multi-year project to restore and revive interest in Clarke's work. The Connection (1962) opens Friday at the IFC Center and soon to follow will be theatrical and DVD releases of Robert Frost: A...
- 4/28/2012
- MUBI
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