4th Festival of German Cinema
Welcome to the 4th Festival of German Cinema in China! This year once again German Films and the Goethe-Institut with their many partners in several Chinese cities will be showing some of last year’s outstanding German films. The programme features not only standout festival hits, but also a number of films about migration or about the trials and tribulations of coming of age. Last year’s German films show that cinema is a vital space of reflection on identity crises that can leave us baffled and confused. We hope viewers will enjoy two exciting and moving weeks of fine German films and rousing discussion!
Screening & Forum “Perspectives on German Cinema”
Time: 2016/11/18, 20:30 - 22:00
Venue: B-Park.read (No.101, B. Park Culture Co. Ltd, OCT Loft, Nanshan)
Language: Chinese and German with consecutive translation
Hoste: Milkpig (Yuan Lei), General Manager of Pumpkin Channel, Journalist, Film Critic, Former Director
Ticket: 60 RMB (one free drink included)
Screening “After Spring Comes Fall”, 20:00 - 21:30
Drama / War 90 min
In German with Chinese subtitles
Minna, a young Kurdish woman, flees from Syria after an attack on her and her husband. Stranded in Berlin, she tries to build up a new life, working in a factory, although at the same time living here as an illegal immigrant. Syrian security finds her and blackmails her into their services. Minna is forced to spy out Syrian resistance fighters in Berlin and deliver them to the authorities. Things get out of control pretty soon. A film about Kurdish refugees in Germany, their life marked by betrayal, collaboration and violence.
Daniel Carsenty was born in Frankfurt in 1982. He worked as a journalist for the WDR and RTL. From 2008 until 2014 he studied cinematography at the Film University Babelsberg.
Panel Discussion "Modern Diaspora"
In German and Chinese with simultaneous translation
21:30 - 23:00
The history of German cinema can look back on a number of great achievements: the 20’s, but also the 60’s and 70’s have had lasting stylistic influences. Names such as Fritz Lang and Rainer Werner Fassbinder remain unforgotten. Expectations of the following generations of German cinema rose all the more, with the result that the latter found itself under great pressure to justify itself. Moreover, standards have shifted in any case following the Hollywood and post-Hollywood eras. Thus German cinema has often been stigmatised as moving between war drama and provincial farce. Similar prejudices can be observed from the perspective of the Chinese public, which at the same time represents a massive audience potential due to its size.
How then can German cinema position itself in a suitably contemporary fashion? Does it need to do so in the first place? How is German cinema perceived in China? And in turn, how can its entire diversity be noted in China as well? We shall discuss perspectives on German cinema together with our guests Theresa von Eltz, Florian Gallenberger, Daniel Carsenty and our Chinese audience.