They’d just let him do whatever he wanted at the Bayerischer Rundfunk broadcasting station: The early-evening series MÜNCHNER GESCHICHTEN in 1974, with theater legend Therese Giehse and the unforgettable Hans Brenner; the 12-part television series DER GANZ NORMALE WAHNSINN, first broadcast in 1979, about the love life of Maximilian Glanz, who answers letters to the editor. Many German bons mots from Dietl’s series – including “Logisch!” (Logical!) and “A bissl was geht immer” (A little bit is always possible) – have become common parlance. In his films, such as ROSSINI – ODER DIE MÖRDERISCHE FRAGE, WER MIT WEM SCHLIEF (1997) and VOM SUCHEN UND FINDEN DER LIEBE (2005), Helmut Dietl, who died in 2015, explored an unconventional blend of shrill farce and wounded melancholy; also on the big screen. Dietl’s works KIR ROYAL (1986), SCHTONK! (1992), LATE SHOW (1999) and most recently ZETTL (2012) settled up with the media industry again and again. Parallel to the acquisition of his estate of private papers and documents, a special exhibition in the Mediathek Fernsehen (Television Media Library) pays tribute to the one-of-a-kind Helmut Dietl for his work as an author and director of film and television.
Melancholy and Ease – A special exhibition for Helmut Dietl
Between the Films – A Photo History of the Berlinale
Right from the start, press photographers have always accompanied, documented and interpreted the Berlin International Film Festival. The Deutsche Kinemathek archives a number of estates of photographers, who focused primarily on social film events in Berlin. The special appeal of these collections is nevertheless concealed in the marginalia of the actual motifs, reflecting casually captured moments of fashion, zeitgeist, everyday life and our society’s representation culture and consumerism. The exhibition documents the work of photographers, and correspondingly, everything that makes the Berlinale so characteristic – i.e. everything that takes place Between the Films.