Ja, der Titel erinnert an ein außer gewöhnlich torreiches Handballspiel, aber tatsächlich geht es wieder einmal um TATORTE, mit aktuellen Zahlen und zwei guten Nachrichten.
6-Gewerke-Check 2023 Sommerpause
Die 23 bis zur Sommerpause erstausgestrahlten TATORTE haben einen gerundeten 48 % (47,7 %) Regisseurinnenanteil und 44 % (44,1 %) Autorinnen. Nicht schlecht!
In der Montage machen Editorinnen 2/3 aus, in 15 TATORTEN waren sie allein verantwortlich, in dem Wien-Fall WAS IST DAS FÜR EINE WELT gab es ein Schnitt-Duo, Karina Resslerund Philipp Bittner.
Weniger vielversprechend sind die Zahlen für die übrigen Gewerke.
Besonders die 13 %Kamerafrauen enttäuschen, in diesem Gewerk sind immerhin ein Viertel der Hochschulalumni weiblich, aber sie werden für TATORTE nur selten engagiert. Lediglich drei standen in den ersten 23 TATORTEN 2023 hinter der Linse – Julia Jalnasow (München: SCHUTZMAßNAHMEN), Christiane Buchmann (Saarbrücken: DIE KÄLTE DER ERDE) und Katharina Diessner (Köln: WIE ALLE ANDEREN AUCH). Auffällig, kein Regisseur arbeitete mit einer Kamerafrau.
Und es gab nur eine Filmtonmeisterin: Claudia Mattai del Moro, die ebenfalls bei DIE KÄLTE DER ERDE arbeitete. Peter Tielker war bei vier TATORTEN Filmtonmeister (Dortmund, Kiel, Schwarzwald, Zürich), Je 3 mal Matthias Haeb (München, Köln, Bremen) und Wolfgang Wirtz (Franken, Stuttgart, Köln). Continue Reading →
31. July 2023
by SchspIN Comments Off on Family-Friendliness and the Film Industry
This text is a short version of the keynote I held at Pro Quote Film’s “Family-friendly filming – the concrete congress” on 21.2.23. My first text on this topic was published on 14.4 2014 under the title “Children, cinema, career: how family-friendly is the film industry?”
Belinde Ruth Stieve at Pro Quote Film’s “Family-friendly filming. The concrete congress!”. Photo Sibylle Anneck
Family-Friendliness and the Film Industry
Families are very popular in the film and television industry – as an audience, as a target group. But this family-friendliness is not what we are talking about here, but the compatibility of family and professional career in front of or behind the camera.
The employment rate of parents with children under six in Germany shows that fathers work 80-90% of the time, regardless of whether they have one, two or three children under six. Only every second mother is gainfully employed in the same family situation. Continue Reading →
A few days ago I rece ived a programme note from Real Film Berlin / Studio Hamburg, it was about the start of broadcasting a six-part “thriller series” on Netflix. This is called SLEEPING DOGS and is based on the Israeli series IKARON HAHACHLAFA עקרון ההחלפה by Noah Stollmann and Ori Weisbrod (2016), which can be roughly translated as “exchange principle”. The German scripts are by Christoph Darnstädt.
Now I didn’t think “Yay! Finally a new crime series!” or “Supes! Finally a remake of a successful Israeli series” (like for example HATUFIM חטופים / “The Abducted” and BETIPUL בטיפול / “In Treatment”, although I generally prefer the original versions, but that’s another topic).
No, I was struck by the brief sketching of the main characters, which does seem a bit annoying. It only became interesting once I swapped the descriptive adjectives of the female and male roles, and that’s what today’s proposal for a new campaign is about.
Abzählvers Gesine und die Einleitung Ridley Scott’s NAPOLÉON-Film und das Alter von Schauspieler:innen Napoléon et Joséphine Die neue Verfilmung Historischer Exkurs Die deutschen Schauspieler:innen und ihr Alter
3 Jahre-Vergleich [Datenbank Filmmakers]
Kaiser von Rom Napoléon sein Sohn der war noch zu klein um Kaiser zu sein Noch ein Stückchen weiter auf der Himmelsleiter Hier bleib ich steh’n um alles zu seh’n eins, zwei, drei!
Gesine und die Einleitung
Neulich war ich zum “Let’s change the Picture”-Podcast von Gesine Cukrowski eingeladen, Ihr könnt das Gespräch hier nachhören (Zu Gast bei Gesine Cukrowski #LetsChangethePicture). Darin erwähnte ich nebenbei die aktuelle Ridley Scott Verfilmung eines Napoléon-Stoffs, in der Napoleons erste Frau Joséphine mit der 30-jährigen Jodie Comer besetzt war und Napoleon mit dem 48-jähringen Joaquin Phoenix. Hinterher habe ich nachgesehen, ob die Dreharbeiten schon abgeschlossen sind, und bei der Gelegenheit erfahren, dass Joséphine umbesetzt wurde.
Im Interview erwähnte ich auch, dass es bei uns in jüngeren Jahrgängen mehr professionelle Schauspielerinnen als Schauspieler gibt, diese aber früher aus dem Beruf ,verschwinden’ als ihre Kollegen. Diese Aussage stütze ich u.a. auf meine Altersauswertungen von Schauspieler:innen in der Castingdatenbank Filmmakers 2013 und 2017.
Um diese beiden Themenbereiche geht es in meinem heutigen Text.
Ridley Scott’s NAPOLÉON-Film und das Alter von Schauspieler:innen
Napoléon et Joséphine
Die neue Verfilmung
Der englische Regisseur und Filmproduzent Ridley Scott (85) führte u.a. Regie bei THE DUELISTS (1977, sein Langfilmregiedebüt, Buch Gerald Vaughan-Hughes), ALIEN (1979, Buch Dan O’Bannon und Ronald Shusett) und THELMA & LOUISE (1991, Drehbuchdebüt von Callie Khouri). Scott ist seit 2015 in dritter Ehe mit der 18 Jahre jüngeren kostarikanischen Schauspielerin Giannina Facioverheiratet.
On April 1, I posted the German Federal Film Board FFA message FFA foc uses on women’s participation, new funding guideline passed on Instagram:
adding the following explanation:
From the 3rd funding round in 2023, the FFA requires that submitted projects must involve at least one woman “in the six relevant departments”. A small start has been made, hopefully the other public film funding bodies will follow with similar advances. Whereby, better, more effective and more gender-equal would be my proposal #2of6.Continue Reading →
Lets Change the Picture – Interviewt von Gesine Cukrowski
Am Ostermontag war ich – als erst zweiter Gast! – zum „Let’s Change The Picture“-LiveTalk von Gesine Cukrowski eingeladen, den Ihr weiter unten nachhören könnt.
Gesine hat einen Nachnamen, den sie vermutlich ähnlich häufig wie ich meinen buchstabieren muss, und der auf Polnisch irgendwas mit Zucker heißt. Sie hat außerdem kürzlich gemeinsam mit Silke Burmeister von Palais Fluxx (“Online-Magazine für Rausch, Revolte, Wechseljahre”) die Kampagne Let’s Change the Picture ins Leben gerufen – auf Deutsch in etwa: Lasst uns die Bilder verändern, oder etwas freier: verbessern.
Hierbei geht es um die unbefriedigende, klischeehaften Darstellung bis hin zur Abwesenheit von älteren Frauen im deutschen Film / Fernsehen. Wobei mit ,älteren Frauen’ Frauen ab 47 gemeint sind. Und dass das natürlich geändert werden soll – hin zu mehr Sichtbarkeit von Frauen ab 47 und deren wirklichen Geschichten.
„Es fehlen die Geschichten, die Frauen so erzählen, wie sie heute sind. Es gibt eine ganz eigene Film- und Fernsehrealität in Deutschland, die mit unseren gelebten Realitäten nicht so viel zu tun hat. Echte Geschichten von Frauen über 50 werden grundlos fürs Fernsehen auf die Frau Mitte 30 umgeschrieben. Das beraubt die älteren Frauen unserer Gesellschaft nicht nur ihrer Geschichten, es hat auch den Nebeneffekt, dass den gezeigten Frauenfiguren teilweise grotesk anmutende, weil viel zu umfangreiche Biografien angeheftet werden. Die wenigen Frauenfiguren 47+, die wir dann zu sehen kriegen, sind oft weit entfernt von unserer Lebensrealität und bedienen Stereotype, in denen wir uns einfach nicht wiederfinden.” (Gesine Cukrowski) Continue Reading →
A fortnight ago I analysed 15 films that were nominated in at least two categories at the US film awards (Oscars so diverse?). The 6-trade check revealed a pretty rosy picture, because in each of the six trades of directing, screenwriting, cinematography, sound, editing and music, the proportion of men was over 75%. Which, of course, at the same time means that the proportion of women was always below 25%, the highest figure perhaps surprisingly being for female composers, who scored 23.5%.
Today we are talking about the nominations for the German Film Awards 2023, and the good news is that the 6-works check turned out a little better for women, regardless of whether I only looked at the six productions nominated for “Best Film” or all 24 films nominated in at least one category. But that is already the best news in this text.
The first diagram shows the 6-departments-check for all nominated films:
The highest share of women is in editing (37%), directing and screenwriting are around 30% and female composers provided the lowest figure at 8%.
The question of the share of films that meet #2of6 suggests itself. Well, maybe not, but I find it worth pursuing: how many of the 24 nominated films – feature films, children’s films and documentaries – meet the two out of six mark, i.e. how many involved women in at least two of the six departments? Actually, less than half. In 13 films there is either no or just woman in a position of responsibility. Continue Reading →
17. March 2023
by SchspIN Comments Off on Oscars so diverse?
Last Sunday, the Academy Awards 2023 were presented in Los Angeles. I’ve been asked for a comment several times already, so here goes!
Many people celebrated the large number of nationalities represented among the award winners and the many different ethnic backgrounds. This can be considered good news, although it is largely due to EVERYTHING EVERYWHERE ALL AT ONCE, which was nominated for eleven awards and won seven. This fantasy comedy about a Chinese immigrant family in the USA involved a great many Asian filmmakers or US filmmakers with Asian background behind and obviously in front of the camera. The frequently used phrase “the first actress nominated for a leading role who identifies as Asian” in connection with the Malaysian leading actress Michelle Yeohseems a bit strange though.*
There was also great excitement over two actresses winning the awards for Best Actress in a Leading Role and Best Actress in a Supporting Role respectively. Two actresses over 60 I should add.
I can’t say much about other diversity categories in front of and behind the cameras, as I haven’t seen any of the films except for SHE SAID, the drama about the revelation of the Weinstein crimes and starting-point of the #metoo movement. Oh, and SHE SAID wasn’t nominated at all, in any category. Well, what can I say.**
6-Departments-Check – a Tragedy
What I can offer, however, is a statistical evaluation of the shares of women and men in six departments in the fifteen films that were nominated in at least two categories. The six departments I examined this time are producers (instead of sound), directors, writers, directors of photography, editors and composers. And this 6-departments-check is a tragedy, unless you like pink and one-sidedness:
As you can see in the diagram, directing and screenplay under 10 % women’s share, camera less than 15 %, production and editing around 20 %, music under 25 %.
Has anyone made an issue of this, was it mentioned in the media? If they have, I didn’t notice. It’s as if sexism, gender imbalance, structural discrimination against women in film and television are not really of interest as separate issues anymore, since we are now talking about diversity. And that means “everything else”, even if many men and a few women would like to persuade us that diversity includes women. I tend to think No it doesn’t.
The 73rd Berlin Film Festival took place from Feb. 16 to 26 this year. Since 2020 the festival is led by artistic director Carlo Chatrian, (Italian film critic and festival director) and managing director Mariette Rissenbeek (Dutch film producer and marketing manager). 2023 the jury president is US actress Kristen Stewart, and there are 19 films in competition.
The Berlin Competition 2023
The competition, “the centrepiece of the Berlinale and the festival’s calling card,” is described rather ambitiously on the website berlinale.de:
(the competition) provides a detailed picture of the cinema as it is and as it will be. Whether from established or up-and-coming directors, films in the Competition present the best of the year’s selection.
As the festival’s centre of gravity, the Competition concentrates the energy of the Berlinale and catches the world’s attention. It is the focal point of the festival and screens some of the year’s most talked-about films, frequently prompting heated debates. Embracing the diversity of cinema and its extensive production in the 21st century, the Competition aims to surprise, entertain and enrich public audiences and industry professionals alike. It reflects and relates to the world in which we are living: its selection allows viewers to understand their place in it more fully and to recognise and respect the place of others.
This year, Carlo Chatrian, supported by a selection committee, has chosen 19 films for the competition, including the documentary SUR L’ADAMANT / ON THE ADAMANT (directed by Nicolas Philibert) and two animated films, ART COLLEGE 1994 (directed by Liu Jian) and すずめの戸締まり / SUZUME (directed by MakotoShinkai).
The first image shows the 6-departments-check for the 19 competition films, i.e. the share of women and men for the departments of direction, screenplay, camera, sound, editing and music. The data for sound (16 films) and music (14 films) are still incomplete, since not all positions could be determined via official sources. At this point, many thanks to Mayho Ho, who researched the gender of some team members of the two Chinese films for me. Dankeschön!
The proportion of female directors and writers is just under one third. The equality of the values is also due to the fact that 15 directors wrote the scripts alone and 4 others wrote them as part of a team. This is still far from the 50% threshhold that has been called for for years, and not only for films by female directors. Female editors make up less than 30%, which is probably well below the proportion of women in this profession internationally. The share for women cinematographers is less than 12%, and that of women sound mixers and composers is even less than 7%.
Ages of the directors
The second figure shows the age range of the nineteen directors, divided into 5-year groups according to year of birth:
The oldest is Margarethe von Trotta, director and writer of INGEBORG BACHMANN – REISE IN DIE WÜSTE / JOURNEY INTO THE DESERT. Surprisingly, this is only the second time she has been invited to the Berlinale Competition, the first time was with HELLER WAHN / A LABOUR OF LOVE at the 1983 Berlinale. DAS VERSPRECHEN / THE PROMISE ran out of competition in the 1995 Competition.
Then we have five male directors born between 1948 and 1960; no female director from this age segment was invited. The second oldest director in the Competition is Angela Schanelec (born 1962), represented by the Oedipal drama MUSIC. The youngest is the Korean-Canadian Celine Song, in her early 30s, who is presenting her directorial debut with PAST LIVES.
The ages of the leading actors
A few days ago, the Let’s Change the Picture campaign initiated by German online magazine Palais F*luxx went public. The campaign is about the (in)visibility of women over 47 on German screens. That’s why I’d like to take a look at the age of the first-named roles in the 18 competition films. For the animated films I have taken the age of the dubbing actors. The age of Mwajemi Hussein, who played the role of BlackWoman in THE SURVIVAL OF KINDNESS, is estimated; I have not found any information on her.
No actress reaches the 47-year threshold. Three actors are above it, the oldest being Australian Simon Baker (53) in the mystery-crime film LIMBO (directed, written, cinematographed, edited, music: Ivan Sen). The oldest leading actress is 46-year-old Anabela Moreira in the Portuguese drama MAL VIVER (director and screenwriter: Joao Canijo). It is striking that almost half of the directors in the Competition, namely eight, are older than Simon Baker. Or vice versa: most of the authors do not write stories about or around someone their own age, but about characters who are sometimes much younger.
As an example, let’s take Christian Petzold‘s male-heavy relationship drama RED HEAVEN / AFIRE, which is set in his children’s generation. The main cast consists of four actors (25, 28, 29 and 61 years old) and one actress(27), and according to the Berlinale website the story is “about not being able to sleep and wanting to love, about writing and being read, about being in the world and yet possibly living past it. A film suspended between symbolism and realism, comic and deeply tragic.” Uh-huh. In a way, Petzold (62) is fuelling criticism by Let’s Change the Picture with his work. While he had shot mainly with the now 47-year-old Nina Hoss from 2002-14, since 2018 the 1995-born Paula Beerhas been the favourite for his female lead characters. According to an interview for thefilmstage.com, RED HEAVEN was about (physical) love among young people. But that is still happening in his generation as well, isn’t it?
The pathos of RED HEAVEN – “As the (publisher) turns the corner in the dashing compact car, the forest begins to blaze. Ashes rain down, the sky turns red and the relationship drama, which combines physical intensity and artistic sublimation, takes a turn into a new dimension.” forms the bridge to anotherGerman competition entryIRGENDWANN WERDEN WIR UNS ALLES ERZÄHLEN / SOMEDAY WE’LL TELL EACH OTHER EVERYTHING, directed by Emily Atef: “This film tells of charisma, of naked bodies, of lack of will and longing. Pure, direct, open. Unimagined German romance.“
Perhaps a connection can somehow be made to the festival competition’s claim “It reflects and relates to the world we live in: the films enable viewers to better understand their own place in the world and to respect other people’s point of view.” – but since I haven’t seen the films I can’t say much about it.
Four competition entries tell family stories with three generations:
20.000 ESPECIES DE ABEJAS / 20,000 SPECIES OF BEES by Estibaliz Urresola Solaguren. LE GRAND CHARIOT / THE PLOUGH by Philipp Garrel. MAL VIVER / BAD LIVING by João Canijo. TÓTEM by Lila Avilés.
The first and last of these titles feature the two youngest of the first-named actors, Sofia Otero (8) and Naima Senties(7).
With reservations, because I don’t know any of the films from watching them: I notice that burning issues such as climate change, Russia’s aggressive war against Ukraine, femicide, the uprising in Iran, the fates of millions of refugees, the last African colony Western Sahara, growing right-wing populism, the consequences of Brexit, housing shortages, covid, privileged mobility, child labour, forced prostitution, increasing anti-Semitism, conspiracy myths, surveillance societies – to name but a few – leave no trace in the 2023 Competition. But perhaps they will appear in other sections of the festival. John Trengove‘s competition entry MANODROME deals with toxic masculinity. And perhaps the forest fires in Petzold‘s film are due to global warming?
The first four years of the new Berlinale management
On the sidelines of his last Berlinale as festival director, at the Berlinale Event of Women in Film and Television Germany in February 2019, Dieter Kosslick signed the 50/50 by 2020 Pledge, i.e. a commitment to 50:50 gender parity, as the third A-list festival after Cannes and Venice. That year, the proportion of female directors in the Berlinale competition was 43.8%. Speaking to Deutschlandfunk, Kosslick said: “(My successors) see it like I do, otherwise I can’t sign that. (…) I have already agreed this with them.” Does the voluntary commitment have an effect on the competition?
The next figure shows the proportions of women and men in the direction of the competition films of the Chatrian / Rissenbeek era:
The female directors reach around 30 %, the highest value of 31.6 % this year is still less than a third, more than 10 percentage points below the 2019 value. For the 2020 Competition, the Berlinale has calculated a higher value – which I cannot reproduce – (33%). I will briefly go into this at the end of this text.
“The established auteur cinema from all over the world”.
What about the countries of origin of the films? Is the whole world really represented here? Let’s take a look at all the production and co-production countries mentioned in the Competition lists on the Berlinale website, grouped by continent. The Central American and Caribbean countries are counted as North America. All figures refer to the number of countries per continent, not to the number of films:
No film (co-)produced by an African country made it into the competition. And that is not the only gap. The following table shows the directors’ countries of origin, which confirms the trend:
To be able to classify the figures more clearly, here are the tables for the individual countries, again for production and direction. Not a single film from India. The Indian film industry produces 250 films a year. None are good enough for the Berlinale?
Only three times was a director invited from Korea (i.e. South Korea). And it was always the same one, Hong Sangsoo. He has now been nominated six times for a Golden Bear, i.e. in the Competition, and Chatrian has invited him three times in four years alone. Are there any other filmmakers from South Korea who could be considered? Like Hong Sangsoo, Christian Petzold, who is participating for the fourth time this year, is also a Competition nominee. Are their films always of such a high standard that there is no way around them? And there is no room for the films of Sabu, for example? Or the films of directors from Central or South America? There are no films from Eastern Europe in the competition in 2023 either.
Sexiest Man Living in the USA
I imagine the work of the selection committee is anything but easy. But it does sound a bit like “the usual directors” and “the usual countries”. One is tempted to think of the unspeakable “Sexiest Man Alive” award. The previous winners reinforce the suspicion that it is only about the “Sexiest Man from the USA”, whether he was born there or works there – preferably in the film industry:
That is the so-called tunnel vision. And it might prevent a film from India, Africa or South America from being in the competition at the Berlinale. Which is perhaps simply different from what our viewing habits perceive as good – and could be an enrichment.
I have already mentioned Hong Sangsoo (3) and Christian Petzold (2) as frequent guests in the 2020-23 Competition. Apart from them, only Philippe Garrel (2) and RithyPanh (2) have been there more than once under the current direction. And of those who have been in the 2020-23 competition, only Andreas Dresen (4 times since 1999) Denis Coté (4 times since 2013), Francois Ozon (6 times since 2000) Lu Zhang (4 times since 2005) come to more than 3 participations in total. Only men. Do women take longer to produce – perhaps because they have more difficulty financing their projects – and therefore come up with fewer potential invitations? Or are they simply overlooked, passed over? That’s a topic for another day.
If you are going to the Berlinale: have fun, stay healthy, and hopefully see lots of inspiring films. If you don’t go: I’m keeping my fingers crossed for all of us that many films – especially those not in German or English – will be shown in our cinemas after all.
13. November 2022
by SchspIN Comments Off on TATORTE 2022 – Eine gemischte Zwischenbilanz
Heute ist Sonntag der 30. Oktober, es ist kurz nach halb vier am Nachmittag. In den Nachrichten wird von über 150 Toten in Seoul / Südkorea nach einer Massenpanik bei einer Halloweenfeier berichtet. Abends gibt es diesmal keinen TATORT sondern einen POLIZEIRUF 110, der laut ARD-Webseite makabererweise – das konnte die Programmplanung nicht wissen – so beginnt:
Prolog, 30.10.22 Eine Frau wird nach dem Halloweenfest am Fuße des Brockens tot aufgefunden. (…) Die Leiche wurde verbrannt, auf einer Art Scheiterhaufen. Und schließlich stellt sich heraus, dass das Opfer gefoltert wurde – mit Methoden der mittelalterlichen Inquisition.
Der Film von Drehbuchautor Wolfgang Stauch hat den Titel HEXEN BRENNEN, wer die gefolterte und ermordete junge Tanja Edler spielt ist auf der ARD-Webseite und in den üblichen Filmdatenbanken nicht zu finden, sie scheint nur tot und nicht in Rückblenden zu sehen zu sein.
Ändert die ARD ihr Abendprogramm?
Stunden später: Nein, es gab keinen Brennpunkt, weder zu dem Unglück von Seoul, noch zu einer eingestürzten Fußgängerbrücke im Westen Indiens mit mehr als 130 Toten. Zu weit weg, nicht relevant? Im Gegensatz beispielsweise zur Trainerentlassung bei der Männerfußballabteilung von Bayern München am 27.4.09? Die war der ARD einen Brennpunkt wert, aber das ist ein anderes Thema.Continue Reading →