Entries by Peter Krausz

Cate Shortland's finely observed Australian film shot completely in Germany, LORE, has just been awarded Best Director of a feature film at the Australian Directors Guild Awards. The film, set during the immediate aftermath of World War 2, deals with a Nazi family and the teenage daughter's attempt to understand her beliefs and place in the new Germany, especially when she encounters a Jewish refugee.
This award now joins the other awards won by the film, including AFCA awards, FCCA Awards and Best Film in Bronze at the German Film Academy Awards (the Lolas).
This is a terrific achievement for Cate, and the Australian film industry, in co-operation with German film production. The film is now available on DVD.

It was a night of surprises when the German Film Academy Awards were presented on April 26 in Berlin. The film Oh Boy won the Best Film in Gold, Best Screenplay, Best Director, Best Actor: Tom Schilling, Best Supporting Actor: Michael Gwisdek, and Best Music Score.

The Best Film in Silver was awarded to Hannah Arendt, with Barbara Sukowa winning also for Best Actress.

The Best Film in Bronze was a coup for Australia, with Lore winning this award.

Another big winner on the night was Cloud Atlas, with awards for Best Cinematography, Best Production Design, Best Costume Design, Best Makeup and Best Editing.

Best Children’s Film was presented to Kaddish For a Friend, while Best Documentary was awarded to More Than Honey. Best Sound was won by Die Wand/The Wall, and Best Supporting Actress was presented to Christine Schorn for Das Leben ist nichts fűr Feiglinge/Life is not for Cowards.

The audience award was presented to Schlussmacher/Break-up Man, and the Lifetime Achievement Award was presented to the much acclaimed, and prolific filmmaker, Werner Herzog.

At the 2011 Munich Film Festival, I made a point of seeing as many German films as possible to facilitate my selecting films for the German Film Festival in Australia. The outgoing director of the festival, Andreas Strὅhl, had programmed a number of films in the dysfunctional family category (including the Dardenne Brothers film Kid on a Bike), and he particularly recommended the Austrian film Atmen especially as it was the debut directing film for actor Karl Markovics (Die Fälscher/The Counterfeiters, Mahler on the Couch, Measuring the World).

The premiere screening at the festival was sold out, and fellow film critics and film journalists had high expectations of the film, not just that Austria produces some appealingly idiosyncratic films, but that Karl was careful to choose an appropriate script as his first directorial film. I was not disappointed, this was a powerful story of a young man who had been involved in an act of reckless teenage violence who was then confined to a juvenile detention centre. The film dealt with his possible redemption by his participating in community release at a Morgue with a view to eventual freedom. The scenes involving his experience of dealing with death, as well as the horrendous treatment meted out by his mother, elevated this film to a moving, yet unsentimental, psychological exploration. Metaphors abound as he finds some freedom in swimming under water, just breathing.

The young actor, Thomas Schubert, chosen by Markovics, coincidentally had never acted before, but brought the right “gravitas” to the role. After the screening, and a strong round of applause, they both faced the audience to discuss the film. They both seemed genuinely surprised and excited to receive such positive acclaim at the screening. Schubert explained how Markovics directed him, encouraging him to understand and feel the character, but to keep it restrained and naturalistic.

Of course, this was a film that I immediately wanted for our festival, and the number of awards, including being Austria’s nomination for the 2012 Best Foreign Language Oscar, only served to further endorse my view of the film. It is certainly one of a number of highlights at this year’s AFGF 2013.

This year’s nominations for the German Film Prizes include a number of films that are playing in this year’s FGF 2013. The awards will be presented on April 24, and we shifted the festival back one week to allow guests of our festival to attend the awards ceremony and then visit Australia.

Nominated for Best Film is Die Wand/The Wall, which has also been nominated for Best Actress: Martina Gedeck, and Best Sound. This impressive and low-key science fiction film deals with the impact on humanity of a devastating event.

A film dealing with juvenile criminal behavior and retribution, Schuld Sind Immer Die Anderen/Shifting the Blame has been nominated for Best Screenplay, as well as Best Actor: Edin Hasanovic.
An emotionally complex film dealing with a tragedy and its ethical consequences, Gnade/Mercy, has received nominations for Best Actress: Birgit Minichmayr, Best Cinematography and Best Sound.

The Best Documentary category was richly served this year with some diverse topics. More Than Honey, a detailed investigation into the fragility of the bee population, including scenes filmed in Australia, is a Swiss film also nominated for Best Editing. Vergiss Mein Nicht/Forget Me Not, is a melancholy look at a filmmaker’s mother fascinating history and her recent descent due to Alzheimer’s.

The ramifications of the political terrorism associated with the Baader-Meinhof gangs are explored in the contemporary set film Das Wochenende/The Weekend, which has a Best Supporting Actor nomination: Robert Gwisdek. The lively horror-thriller Du Hast Es Versprochen/Forgotten has received a Best Sound nomination.

The big budget production concerning the historical explorations of scientist Alexander von Humboldt (who founded Germany’s first University in Berlin) and mathematician Carl Friedrich Gauss, Die Vermessung Der Welt/Measuring the World, is nominated for Best Production Design, Best Costume Design and Best Sound.
Hermine Huntgeburth cleverly took a German slant to Mark Twain’s stories last year with Tom Sawyer, and this year her equally enjoyable version of Die Abenteuer Des Huck Finn/The Adventures of Huck Finn is nominated for Best Production Design. One of the best films from last year’s festival about a Jewish man struggling with Muslim neighbours and a teenage boy in Berlin, Kaddisch Fὕr Einen Freund/Kaddish For a Friend, has curiously been nominated this year in the Best Children’s Film category.

Away from this year’s festival, the international multi-layered production, co-directed by Tom Tykwer, Cloud Atlas, has been nominated for: Best Film, Best Direction, Best Cinematography, Best Editing, Best Production Design, Best Costume Design, Best Art Direction, Best Sound and Best Music Score.

The multi-award winning film produced in Australia and directed by Cate Shortland, shot entirely in Germany, Lore, has received German Film Academy nominations for Best Film, Best Cinematography, Best Costume Design and Best Music Score. A terrific achievement all round.

The Australian Festival of German Films 2012: Another Year Celebrating the strength of the revitalized German Film Industry

The 12th annual showcase of German cinema, run by the Goethe Institute with support from German Films, exemplified the range of genres and styles coming from a prolific industry. Guest of the festival, Leander Haussman (Hotel Lux), enjoyed himself so much that he thought Australians were fine connoisseurs of German cinema. His disarmingly friendly approach to the Q & As, and his resonant discussions about his own background as an East German, proved to be a hit with audiences nationally. Similarly, Hendrik Handlögten (Summer Window), was both charming as a guest, and pleasantly surprised by the positive reactions from the Australian audience. Alice Gruia, the Australian director of the documentary Rodicas, expressed her gratitude for the way the festival was able to showcase her little seen film and give it good exposure. Certainly the festival’s publicist Annette Smith made sure all the guests were front and centre to highlight the growing audience interest for German cinema.

The films screened encompassed a wide variety of tastes. Kaddish for a Friend continued the reconciliatory mood between German and Jewish cultures, with a stirring drama of a man caught up in anti-semitism from his Muslim neighbours. The young boy’s developing resistance to cultural enmity provided the audience with a positive comment on contemporary Germany. On the other hand, incipient neo-Nazism exemplified by the young woman in Combat Girls, was exposed and criticized to powerful effect in this controversial film.

Historical events continue to be explored by German filmmakers, interested in observing the forces that create epoch-making events. 4 Days in May looked at the final stages of World War 2 through the eyes of a child observing the conflict between Russian soldiers and the dying German armies. While If Not Us, Who? delved into the political and social forces that shaped members of the Baader-Meinhof gang. In Westwind, two East German sisters discover romance while training for the Olympics as the West looms as a competitive force for their future. Meanwhile, the highly regarded but personally challenged poet Georg Trakl had his life exposed in Taboo-The Soul is a Stranger on Earth. Life in East Germany was explored in a more upbeat way by Winter Daughter which looked at social mores of the time through the eyes of some children and an older woman. The devastating impact of Nazism, especially on the murder of millions of children was portrayed to great effect in Wunderkinder.

Hotel Lux was set in Russia before and during World War 2 and proved to be a satiric depiction of anti-semitism, Russian politics and the fate of two comedy performers from Germany. Some German filmmakers have taken a view that the best way to depict horrendous historic events is to present them in a comedic or satiric way to highlight the ridiculousness of the situations or events. As a retrospective to Haussman’s career, Sun Alley was screened; an amusing take on life in East Germany for a group of young people who found there was much to appreciate despite the repressive regime. Haussman’s other film to be screened at the festival was Robert Zimmerman is Tangled Up In Love, a funny look at a younger man/older woman relationship.

There were some powerful dramas screened as part of the festival. Sleeping Sickness explored the fraught African politics of culture and society as seen through the eyes of a doctor caught up in conflict. Similarly, a woman becomes embroiled in African issues and immigration policy in the confronting drama Colour of the Ocean. An actress attempting to cope with a dysfunctional family while trying to become a stage performer was well explored in Cracks in the Shell. The twists and turn in the plot of The Good Neighbour created some Hitchcock like tensions for the audience. To enhance his classes’ social and cultural education, a teacher in the late 19th Century, introduces soccer creating a positive impact in Lessons of a Dream. The impact of mental illness and notions of reality and fantasy were explored in the stirring drama Hut In the Woods. Similarly playing with this concept of reality was the dreamily directed film by Hendrik Handlögten Summer Window, where the audience was taken on a parallel time journey leading to a shattering conclusion. Probably the most striking drama presented was the story of a man’s journey through a terminal illness in Andreas Dresen’s much acclaimed Stopped on Track.

The Swiss have a knack for making unusual films, and the horror tale Sennentuntschi provided the audience with some challenging scenes and a provocative narrative to great effect. The other Swiss film screened was the amusing fantasy The Fraűlein and the Sandman, which looked at the odd relationship between two people, one of whom was literally turning to sand! Continuing the films that were more unusual, the first science fiction film from Germany, Hell, was a challenging story about a future world devoid of water and suffused with sunlight. In this difficult post-apocalyptic world, survival was problematic leading to a cathartic revelation. Summer in Orange was an amusingly nutty take on the culture clash between followers of a particular religion and the local townsfolk of a small rural community. The supposed encounter between Gustav Mahler and Sigmund Freud based on Mahler’s concerns about his wife provided us with an interesting tale of obsession, Mahler on the Couch. Tom Tykwer’s stylish menage a trois exploring sexual fluidity in relationships, Three, gave the audience quite an experience.

The sequel to the very popular Men In the City was a rousing comedy continuing the wildly uproarious relationships of various men in Berlin. The difficult relationship between mother and daughter, impacted by historic events, was charted in the drama Promising the Moon, while the remnants of the former East Germany contribute to the plight of a young man and a major business company in The System. The dysfunctional family theme was also explored in the drama A Family of Three, with children caught up in a marriage disintegration and a tragic event.

Films targeted for a younger audience continue apace in Germany, and we screened some of the best during the festival. Tom Sawyer was a well-directed and enjoyably German take on the traditional Mark Twain story, with excellent use of locations. Another classic tale, this time by Enid Blyton, was brought to life in the action based Famous Five, and the continuing tale of a group of children in a small German town impacted by social circumstances, was cleverly explored in Crocodiles 3: All for One.

Documentaries continue to provide a source of exploration into German and global culture and during the festival we screened Rodicas. Made by an Australian filmmaker, the film explored the friendship of two elderly women from historically difficult times, now residing in some comfort in Sydney. This was a humanistic portrait of survival and reflection on unpleasant memories. The life of a cabinet minister in Germany who observed political and social issues that developed in the country after World War 2 and to the destruction of the Berlin Wall, was documented in Joschka & Mr. Fischer. The environmental issues associated with tourism, climate change and the beauty of the Swiss Alps was presented in Peak. Depicting a famous reclusive painter in a straightforward and revealing way, was shown in the documentary Gerhard Richter: Painting.

The range and diversity of the films screened at the festival in 2012, and the continuing strength of the German film and television industry, indicate that the Australian Festival of German Films continues to showcase a fine representation from an industry that is again emerging as a major filmmaking force.

Peter Krausz

MUNICH FILM FESTIVAL

There is something immediately exciting and inviting about the Munich Film Festival, ranging from the multitude (15) of screens playing around 300 films during the 8 days, from 9am to 2am, within a one kilometer radius, as well as the informal......

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MunichFilmFestivalbyPeterKrausz.pdf

Andreas Dresen's harrowing cancer drama Stopped On Track has been awarded the Gold Prize for Best Film at yesterday's German Academy Awards. The film also won best Actor for Milan Peschel, best direction for Dresen, and best supporting actor for Otto Mellies.

The most awards were won by Roland Emmerich's Studio Babelsberg filmed American co-production, Anonymous, which took away 6 awards for: cinematography, editing, production design, costume design, sound design, and make-up.

The controversial neo-Nazi film Combat Girls received three awards, including Best Film in Bronze, best actress for Alina Levshin, and best screenplay for David Wnendt.

The best supporting actress award was presented to Dagmar Menzel for her role in Cracks in the Shell.

Best film music went to the film Hell, while Best Film in Silver went to Christian Petzold's East German set drama Barbara.

The best documentary award went to Gerhard Richter - Painting, and the best children's film went to Winter's Daughter.

The inaugural Bernd Eichinger award for contribution to German Cinema was presented to Michael "Bully" Herbig, who amongst other films, was co-producer and lead actor in Leander Haussmann's film Hotel Lux.

The prestigious Lifetime Achievement Award was presented to veteran German cinematographer, latterly working in Hollywood with such filmmakers as Martin Scorsese, Michael Ballhaus.

Peter Krausz

At a sold-out screening of Leander’s new film Hotel Lux in Melbourne, he turned to me at the start of the film and said: “if they laugh now then I have them, if not, it will be difficult”. The scene was the first appearance of Jűrgen Vogel dressed up as Hitler, awaiting his performance in a 1933 Cabaret style show satirizing Hitler and Stalin. The audience was silent; Leander was concerned. “Comedy is the riskiest thing to pull off in cinema, drama is much easier. Making fun of difficult historic situations can be hard for the audience, but it is the best way of ensuring it never happens again.” He then stated: “Dictators hate comedians, and artists are the first ones to be eliminated by these totalitarian regimes; dictators do not have a sense of humour”.

Leander Haussmann was born in East Germany and lived for 30 years under the communist/Stasi regime until the fall of the wall in 1989. That sense of liberation was overwhelming for him, but life in the former DDR (German Democratic Republic) was not all bad, with Western music, television and culture surreptitiously available and forming his view of the world and his cinematic career. Previously he had been an actor as well as a theatre director of many productions, and indeed his theatre work continues. Recently he directed a production of Die Fledermaus in Munich which created a great deal of controversy. The move into filmmaking was a natural progression for him, and allowed him to develop his comedic approach to various topics and themes, as a way of laughing at various situations to make a point.

He has made over 12 films, with varying budgets and producers, but the important thing for him is making films his own way without interference. His breakthrough film that won a number of awards including the German Film Awards best screenplay was Sun Alley, which being his first major film, suffered originally from some production interference. It was only when Leander wrested control of the film back from the producers that he was able to complete and edit the film his way. That the film turned out to be successful, especially for his amusing look at teenagers on the Eastern side of Berlin in the 70s, an unusual approach to what has usually been dealt with as drama, vindicated his comedic style to serious topics. The film also utlized plenty of Western music, demonstrating his abiding interest in a wide range of music in all his films to underline story elements. He commented to me after a screening and Q & A of the film that he likes Sun Alley very much and that it stands up very well, 13 years after its first release.

Leander’s other films include the FIPRESCI award winning Herr Lehmann, the amusing take on East German soldiers’ experiences NVA, a romantic comedy based on two Australian authors’ book (Alan & Barbara Pease) on the differences between the sexes Why Men Don’t Listen and Women Can’t Read Maps, and the other film playing at this year’s festival Robert Zimmerman is Tangled Up in Love, a younger man and older woman romantic comedy with some amusing set pieces and witty dialogue. His comments about James Garfunkel (Art’s son, who has a small role as himself in the film), demonstrated Leander’s keen observation of people and his essential humanity and concern for others. The lead actress in the film was also going through some personal crises/issues which he helped her with during the shoot.

It is apparent that Leander will always make comedy films, which he reiterates is so hard to get right, and indeed he mentioned that prestigious film awards rarely go to comedies. His influences include Chaplin, Lubitsch, Tarantino, and surprisingly, David Lean (Dr. Zhivago), but the latter is perhaps not so surprising given the lush use of music and the sweeping production design/cinematography.

Back to Hotel Lux, Leander’s biggest film, with an 11 million Euro budget and a veteran producer on board (Schtonk) who was happy with Leander’s script (eventually, after a few drafts). Apart from other private investors, the biggest coup for Leander was getting Michael ‘Bully” Herbig a very well regarded German comedian who loved the story and assisted with producing the film. A fair bit of the money was spent on special effects and recreating the hotel on German locations. Leander was also keen to get Jűrgen Vogel on board to assist with audience response, and casting Thekla Reuten, the major Dutch actress (Twin Sisters), took a while as he needed the right actress to play such a complex role. Surprisingly, the film received a lukewarm response in Germany, and as yet has not made back its budget. Leander commented that virtually no German films did well in Germany over the last year, despite 20% of German audiences supporting German films. “Only Til Schweiger makes money” he amusingly remarked. Hotel Lux has been nominated for 3 German Film Awards, to be presented on April 27, in the categories of: production design, cinematography and costume design. He is not enamoured by these awards: “they only go to serious films and comedies always miss out”. He is also quite disdainful about the Film Academy which according to him, comprises few filmmakers, and mostly people who only like dramas and sneer at comedies. His formula of melding tragedy with humour is not favoured by the majority of the membership.

His next film, which he has already started working on with a good filmmaking friend, will be a comedy about a shark alert that turns into a huge disaster. For him, it is mocking the process of initiating an event that forms the kernel of this comedy. However with Leander you are never quite sure when he is serious, as he mentioned that you can google his website and watch them writing the screenplay in real time. He also says that there is so much interest in this “silly” idea that he has the money for the film already sewn up and actors beating a path to his door. Oddly he said nothing about the film he is supposedly scheduled to complete this year: Der Kleine Bruder. It was a real pleasure meeting Leander, and having a number of discussions with him, an example of a key filmmaker from the burgeoning German film industry.

Peter Krausz

Around 500 people attended the opening night of Hendrik Handloegten’s romantic drama with a supernatural twist: Fenster zum Sommer/Summer Window. Looped into two cinemas at the Palace Cinema Como complex, the festival was simultaneously opened in both cinemas, with Hendrik in one cinema and Leander Haussman in the other. Melbourne loves its cultural film festivals, and now in its 11th year, the festival has developed a solid core audience, together with a good mix of German speakers, film buffs and film festival enthusiasts.

Summer Window is an unusual film as it traverses both the romantic drama genre, and the fantasy time traveller idea, with the film asking the question: Can you alter fate? It was terrific to see a beautiful widescreen digital print of the film, especially considering the fine location work in Germany and Finland. The contrast to previous opening night films was quite apparent, and together with the positive audience response, demonstrated the willingness of German filmmakers to present a wide range of genre films, as well as more idiosyncratic and challenging films. Indeed, all commented on the diversity of the program this year, and the willingness by writers/directors to both encapsulate, and step outside, traditional narrative boundaries.

Nina Hoss is a major figure in Germany, prominent on stage and screen, and she was front and centre in almost every scene, navigating her way through the perplexing situation of going back in time in which she finds herself. The rest of the cast similarly acquit themselves, highlighting the attention to detail by Hendrik in juggling the two time periods, and the resultant actions and emotions that arise. It was interesting to note that Hendrik shot the film in winter in Germany and summer in Finland, with naturally a three month gap between shooting schedules. This was somewhat unnerving for him due to the loss of continuity of the narrative, and a futile attempt to start assembling the film before the other seasonal sequences had been shot. Still, it all worked out in the end, with the rarity of a good fall of snow in Berlin to highlight the contrast with the sunny Helsinki climate in summer.

Also especially noteworthy is the fine music score which serves such an essential part of the film’s contrasting locations and dramatic arc. Discussions after the screening indicated that the audience was quite engaged by the film, but also experienced an unusual twist to a standard narrative, that in itself created some on-going discussion, while the enjoyable party in the foyer continued until very late. A comedian was organized, apart from some fine music and torch songs, to regale the audience at the party about the “5 Steps to Being German”. He was part of the Melbourne Comedy Festival, and for me, demonstrated the power of film. Well, ten days to go, and I am certainly looking forward to interacting with the audience, discussing the films, and interviewing the guests of the festival; the latter and more will appear in future blogs. Viel vergnűgen!

Peter Krausz

When I attended the Munich Film festival in June 2011, there was a lot of “buzz” about a film that had just been completed in time for the festival. The themes of neo-Nazism and hatred of immigrants were part of David Wnendt’s script and direction for his graduating film from the Konrad Wolf Film School, and there was a lot of interest and controversy stirred up by these ideas. Set in the Eastern part of Germany and starring a young woman who gravitates towards a neo-Nazi gang, the film created plenty of media interest when the press screening occurred ahead of the first public screening during the festival.

Continue reading "KRIEGERIN/COMBAT GIRLS: A ... »

The Eleventh Annual Festival of German Films 2012 demonstrates the strength, and the diversity of genres, of the German film industry. With 37 films being screened this year, the range and quality of ideas, themes, and approaches indicate a real vibrancy in German cinema. The full details of all films are listed on the website, but a snapshot follows.

At the Munich Film festival 2011 I discovered some excellent films, with very strong responses from the audience. The films selected for our festival in Australia, include: Kriegerin/Combat Girls a confronting film about a woman trapped by her hatred for other cultures and enhanced by mixing with a neo-Nazi gang; Hell, by a first-time filmmaker whose vision of a post-apocalyptic world is extraordinary and chilling; Taboo. the story of poet Georg Trakl and his personal demons as well as his relationship with his sister; Sennentuntschi, Switzerland’s first horror film which will evoke a strong response from the audience.

Continue reading "FESTIVAL OF GERMAN FILMS ... »

One of the main guests of this year’s Festival of German Films, actor Burghart Klaussner, has appeared in over 70 films and television productions. He participated in two Q & As with me during his visit, and was keen to discuss his career, and especially the three films he was in that played at the festival. Continue reading "MEETING BURGHART KLAUSSNER" »

This year's German Film Academy Awards highlighted an interesting mixture of awards to popular releases as well as the more art-house releases.

VINCENT WILL MEER/VINCENT WANTS TO SEA was awarded the Gold Prize for best film, as well as the best actor award to Florian David Fitz in his bravura performance as a young man with Tourette's.

Continue reading "GERMAN FILM ACADEMY AWARDS: ... »

It is quite amazing to realize that the Festival of German Films, which began as a small festival in 2002, has spiralled into such a major event, this year featuring 37 films plus short films and documentaries. This reflects the way the German film industry has expanded so rapidly with a renewed vigour, producing well over 100 feature films per year, and highlighting a wealth of genres, styles and themes. As usual we have an excellent array of films from a variety of writers and directors, as well as a cavalcade of actors recognizable to most audiences. There will be more blogs featuring interviews, reviews and comments during the festival, but I wanted to mention here the tenth anniversary screenings of German films at this festival; some have been screened before and some others were films that passed us by that can now be shown. A quick run-down follows: Continue reading "CELEBRATING 10 YEARS of THE ... »

One of the highlights of the Festival of German Films this year was the screening of Aimee and Jaguar based on the novel written by Erica Fischer. Erica was a guest of the festival and it was a pleasure to host a brief Q & A with her in Melbourne.

When the opportunity to write the story as a book was offered to her, Erica aimed to do as much research as possible. She was able to interview Lily Wust in some detail as she was still alive (indeed she lived until 2005) and provided many stories and anecdotes about her relationship with Felice and the unhappiness she faced in 1944 when Felice was sent to a concentration camp.

It was incredible to consider that a Nazi (Lily) who was married to a German soldier and had four children, could possibly have a lesbian relationship with a Jewish woman (Felice) during World War 2; and to make matters worse, Felice was working as a journalist without revealing her Jewish heritage, and working for the underground against the Nazis. Hence her life was continually in peril, and could end at any time.

Erica, with her Jewish background, was a little uneasy about Lily and her lack of acknowledgement of her Nazi affiliations. Still, Lily was able to relay some important incidents and experiences which made the book so meticulous and thorough. The book became a best-seller and was destined to become a film.

There is some regret with Erica that she was not asked to work on the screenplay of the film, released in 1998. Although she felt that Rona Munro and (director) Max Fäberböck did a good adaptation, she felt that she could have added more emotion and detail to the narrative. Erica also felt that the two actresses, although very good (Maria Schrader as Felice, and Juliane Köhler as Lily) were somewhat miscast in terms of age, especially Juliane. The film was very successful and actually drew more attention to Erica’s book, so there was a strong, symbiotic relationship between book and film.

Erica has written a book about her own background: Himmelstrasse, and has written many articles on feminist and cultural issues, but never achieved the recognition that Aimee & Jaguar gave her. The audience at the screening in Melbourne, almost a full house, all stayed to hear Erica’s description of writing the book, and her views on the film.

Finally, Erica revealed that Lily lived very quietly after the war, but achieved a new notoriety when Erica’s book was published, allowing Lily to “come out” and openly discuss her homosexuality and love affair with Felice. Indeed it was not until the age of 80 that Lily experienced the excitement of visiting a gay club, and living an open life without fear of condemnation. However for Erica, Lily’s avoidance of discussing her Nazism was a problem, which Lily, according to Erica, should have acknowledged publicly. Lily appreciated the film and did some interviews right up until her death in 2005.

You can read more about Erica’s books, background and other writings and events, on her website: www.erica-fischer.de Note that the website is all in German.
Her email address is: ef@textetage.com

Aimee & Jaguar is readily available on DVD in Australia, courtesy of Umbrella Entertainment, and includes some extras including interviews with the lead actresses and the director.