Events & Film Program

Welcome address by Rainer Rother, Artistic Director of the Deutsche Kinemathek

Opening film: Ariane (D 1931, dir: Paul Czinner), DCP, OV with English subtitles, 85 min

Kino Arsenal | Admisson 8 Euro, free of charge with Festival–Registration

GER 1994, directed by Thomas Arslan

Thomas Arslan’s feature debut portrays a handful of teenagers, standing more or less at a loss on the verge of adulthood. The end of lower school and looming decisions that will affect the course of their lives have apparently left the three 16-year-olds, Frank, Andy, and Florian, paralyzed with fear. They hang around at public squares, listen to music, go to concerts, and watch girls, all the while uttering a minimum of words. With a largely amateur cast, the film atmospheric captures their defiant refusal and how time seems to stretch out in this transitional moment for the teenagers, at the end of which either upper school, the army, or a job is waiting.

The 4K image digitization by FILM SHIFT GbR is based on the original negative archived at Deutsche Kinemathek and the sound mix. The digitization was supported by the FFA’s “Förderprogramm Filmerbe.”

Guest: Thomas Arslan

Kino Arsenal | Admisson 8 Euro, free of charge with Festival–Registration

In 2019, the German federal government, states, and the FFA (Filmförderungsanstalt) started financing the digitization of cinematic heritage to the tune of 10 million Euros annually. This panel introduces the program’s aims, guidelines, and application procedures, followed by a discussion between applicants, copyright holders, film archivists, and technical service providers on initial experiences with the program.

Keynote by Claudia Zeitler (FFA), panel discussion with Laura Holtorf (Wim Wenders Foundation), Peter Fries (Omnimago, Ingelheim), Martin Koerber (Deutsche Kinemathek, Berlin), Thomas Worschech (DFF – Deutsches Filminstitut & Filmmuseum, Frankfurt)

Presenter: Christiane Peitz (Tagesspiegel)

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The presentation attempts to describe in a broader context the changes that have taken place in the Polish audiovisual sector since the need to implement new technologies in the preservation and presentation of our film heritage emerged—from individual restoration projects to mass state and EU-funded digitialization programs.

Anna Sienkiewicz–Rogowska (Filmoteka Narodowa – Instytut Audiowizualny, Warschau)

In English

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The sound film era has seen a diversity of audio systems used in both production and distribution, from sound-on-disc and sound-on-film technologies to magnetic tape. This talk surveys historical audio systems and formats—as well as general standards of an acceptable sampling that preserves historical media and enables an authentic listening experience.

Lecture by Oliver Danner (Audio restorer, Berlin)

Kino Arsenal | free of charge with Festival–Registration

Costly as it was for the film industry, the transition from silent film to talkies slowed the spread of early color systems. Footage of the “natural” color spectrum was rarely seen in theaters along with sound-on-film in the 1930s—if it was, then almost exclusively in short commercials. Only a few firms showed a pioneering spirit in the use of both production technologies, pushing major brands and products on the big screen in colorful glory and playing them up with catchy sound. Melodie der Wellen advertised Telefunken radio valves with a short sequence in Sirius Color in 1931. That spot’s variable density sound-on-film made clever use of vocals and spoken dialogue. Two years later, Die Flamme was entirely devised in Ufacolor, promoting the latest modern kitchen appliances with instrumental music. In 1936, Perlen enticed audiences to delight in “Henkel Trocken” sparkling wine: hypnotic chants, sound effects, and a voice-over as a Gasparcolor variable density track in lilac pink gradients.

Workshop report by Anke Mebold (DFF –Deutsches Filminstitut & Filmmuseum, Frankfurt

Kino Arsenal | free of charge with Festival-Registration

The Chase After Millions premiered in Berlin on March 31, 1930 as a silent movie. Shortly thereafter, production company Aafa-Film AG added music and sound effects on Tri-Ergon brand shellac records in a process called sound-on-disc. The silent and “sound” versions were distributed worldwide in parallel, depending on whether theaters had already switched to the new sound technology. This workshop report delves into complex image and sound restoration processes, highlighting technical, curatorial, and restoration-ethical challenges.

Workshop report: Anke Mebold (DFF – Deutsches Filminstitut & Filmmuseum, Frankfurt), Oliver Hanley (Filmuniversität Babelsberg Konrad Wolf) und Oliver Danner (Tonrestaurator, Berlin)

Kino Arsenal | free of charge with Festival-Registration

GER 1930, directed by Max Obal

Two blind passengers meet aboard the steamboat “Cobra”: Graf Sandolo, whose identity has been stolen, and Carlos the Vagabond. Together, they attempt to uncover Baron Falcone’s scheme: the indebted uncle of Sandolo is trying to get his hands on an inheritance in the millions. Traveling on Sandolo’s identity, Falcone wants to marry the wealthy heiress Irina. When the swindler’s jealous girlfriend Juanita decides to foil the wedding plans, the situation comes to a head. But Sandolo is able to save Juanita at the last minute and prevent the marriage. This whirlwind “sensation movie” featuring silent film star Luciano Albertini in his first sound picture premiered as a silent movie in 1930, the production company added music and sound effects on shellac records.

The film was digitized at 2K resolution from well-preserved nitrate prints provided by CNC and the Austrian Film Museum. The sound, originally on disc, survived only in fragments. Within the digitization, image and sound were recombined again.  

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FRG 1964, directed by Leo de Laforgue

Giant Berlin is a feature-length documentary on West Berlin shortly before and after the construction of the wall. Influenced by the collage-like montage of Walther Ruttmann’s Berlin. Die Sinfonie der Großstadt, director, screenwriter, cinematographer, and producer Leo de Laforgue made a part contemplating, part dizzying kaleidoscope of a city between the ravages of war and modernity, accompanied by psychedelic sound. Images of rubble alternate with views of reconstruction and contemporary architecture of the time. Footage of the building of the wall, military parades by the Allies, as well as John F. Kennedy’s visit on June 26, 1963 are both first-hand historical document and political statement on the front city as “outpost of freedom.”

The digitization was made from a very well-preserved 35mm vintage print representing the original cut, unlike the negative also held by the Bundesarchiv, which had been shortened. The image was scanned at 2K resolution and the optical sound was digitized at Bundesarchiv, Hoppegarten.

Kino Arsenal | Admisson 8 Euro, free of charge with Festival–Registration

Awards ceremony and reception — Prize of the Association of German Cinematheques 2019

Screening: Films by Hans Richter with DJ Luyu Zou (Hannover)

Event room, 4th floor| admission free

An overview of the audio digitization and restoration work Stadnik undertook as part of the project “Conservation and Digitization of Prewar Feature Films at the National Film Archive in Warsaw” (the Nitrofilm Project). The initiative aimed to preserve the most valuable prewar collection of Polish cinematography, most of which survives on original nitrate-based celluloid.

Jakub Stadnik (Filmoteka Narodowa – Instytut Audiowizualny, Warschau)

In English

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Pl 1935, directed by Mieczysław Krawicz, OV with English subtitles

Joan is a cute and conscientious typist. But she loses one job after another because she keeps having to fight off her bosses’ advances. So she goes to her next interview in disguise, looking as unattractive as possible, and gets hired by attorney Robert Rostalski. This time, however, she falls for her employer. At a fashion ball, Joan shows up in an eye-popping gown, and Robert falls head over heels for the unknown beauty. From that point on, Joan switches between her two roles until Robert splits with his wife, and the two get together. This Tobis talkie was a box office hit and is one of few surviving prewar Polish movies.

The film was digitally restored at 2K resolution as part of the Nitrofilm project at FINA in 2014. The main image source for digitization was a nitrate release print—using a second nitrate release print with French and Flemish subtitles, missing 3 minutes could be reconstructed. It was also the source for the digitization of the sound.

Kino Arsenal | Admission 8 Euro, free of charge with Festival-Registration

The original German version of Lupu Pick’s Sylvester only survives in a severely truncated version. The Munich Film Museum based its 2004 reconstruction on a nitrate print of the English version preserved in Japan and the script and editing of the French version, also intact. The Deutsche Kinemathek is currently working on a digital restoration of Sylvester and was able to track down Klaus Pringsheim’s original score of the premiere music, containing more invaluable indications as to the original cut. Based on the existing reconstruction and Pringsheim’s markings in the score, the film and music have now been reconstructed again in close collaboration with conductor Frank Strobel.

Worskshop report: Julia Wallmüller (Deutsche Kinemathek, Berlin)

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In the early 1920s, Hans Richter made a series of avant-garde films, becoming one of the pioneers of abstract and experimental film. Those earlier works are preserved as silent nitrate prints; any original versions of music to the pictures are considered lost. In exile in the USA, the artist continued working on his earlier films, adding new sound to them—collages from records and historical sound media. These scored postwar versions of his silent films now constitute a separate cycle of work, of which 16mm prints are widely distributed. In 2017, the Deutsche Kinemathek digitized Richter’s silent experimental films alongside their scored postwar counterparts jointly with the DFF – Deutsches Filminstitut & Filmmuseum and the EYE Film Museum.

Workshop report by Julia Wallmüller (Deutsche Kinemathek, Berlin)

In English

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GDR 1959, directed by Joop Huisken

In 1959, Joop Huiskens was commissioned to shoot an emblematic movie in Agfa Color for the GDR’s 10th anniversary. He envisioned a sort of filmic poem honoring workers, farmers, scientists, engineers, and politicians as architects of socialism. Poet Stephan Hermlin was brought on to write the voice-over and he created a commentary more poetic than impassioned: reserved, yet proud and optimistic. The SED party’s Politbüro, however, deemed the text too “neutralistic” and commissioned a new commentary by Karl-Eduard von Schnitzler. So, the movie came out in GDR theaters with a new soundtrack in honor of the festivities, while the Hermlin version wandered into the West.

The DEFA Foundation had both versions of the film digitized at 2K resolution. For the Hermlin version, they used a combined Agfacolor vintage print as source element. The original negative was available for the Schnitzler version. The digitization was supported by the FFA.

Introduction: Franziska Schuster (DEFA-Stiftung, Berlin)

Kino Arsenal | Admission 8 Euro, free of charge with Festival-Registration

Historical magnetic tape technologies are among the 20th century’s most significant media practices. Once ubiquitous, the medium now feels obsolete and frequently gets marginalized. That particularly applies to audio tape products manufactured by East German companies AFGA (1954–1964) and ORWO (1964–1994). More than ninety percent of the Potsdam Film Museum’s collections are film and sound rolls made in Wolfen—differing in composition and materials from those of their competitors due to historical product development factors. This survey-talk addresses builds bridges between history, technology, conservation science, and day-to-day archive operations.

Workshop report by Katrin Abromeit (Filmmuseum Potsdam), Josephine Diecke (Universität Zürich)

Kino Arsenal | free of charge with Festival-Registration

GDR 1964, directed by Joachim Herz

Opera director Joachim Herz’s adaptation of Wagner’s opera is noteworthy: Not only did he make use of every technical possibility from anamorphic “Totalvision” to four-track magnetic sound—the use of the material itself is unconventional, as Herz sets the saga of a ship captain cursed to drift the seas eternally unless redeemed by love, in the present day. The transition between reality and dreamworld is marked by a change of format from standard to wide aspect, to impressive effect. The elaborate audio process does full justice to the Leipzig Gewandhaus Orchestra under the direction of Rolf Reuter, plus chorales and vocal solos.

The 35mm original negative, digitized in HD, was the source for an HD image processing undertaken in 2012/13. The sound was digitized from a 35mm four-track ORWO magnetic tape, of which some reels had been mixed in mono. The DCP is in 2K scope—1:2,39 and includes visible changes of format.

Introduction: Ralf Schenk (DEFA-Stiftung, Berlin)

Kino Arsenal | Admission 8 Euro, free of charge with Festival-Registration

Curated and presented by Dirk Schaefer (Sound-Designer, Berlin):

• Ballet Mécanique (F 1924, directed by Fernand Léger/Dudley Murphy), DCP, 15 min
• Trade Tattoo (UK 1937, directed by Len Lye), DCP, 5 min
• Castro Street (USA 1966, directed by Bruce Baillie), 16 mm, 10 min
• Dresden Dynamo (UK 1971, directed by Lis Rhodes), HD-File, 5 min
• Locomotive (GER 2008, directed by Matthias Müller/Christoph Girardet), HD-File, 21 min
• Coming Attractions (AUT 2015, directed by Peter Tscherkassky), 35 mm, 25 min
• A Movie by Jen Proctor (USA 2010, directed by Jen Proctor), HD-File, 12 min

Kino Arsenal | Admission 8 Euro, free of charge with Festival-Registration

Why are audio descriptions (ADs) necessary in film and television? Who makes up their target groups and what makes a good AD? This panel explores issues and challenges in making and distributing ADs. After giving a basic introduction, experienced audio film authors discuss current funding criteria, quality standards, and the sorts of texts geared toward different target groups. The speakers shed light on selection and certification criteria, channels of distribution, and how to make ADs accessible.

With Anke Nicolai (Producer of audio descriptions, Berlin), Barbara Fickert (Kinoblindgänger gGmbH, Berlin), Stefanie Eckert (DEFA Foundation, Berlin)

Moderated by Jurek Sehrt (Deutsche Kinemathek, Berlin)

Kino Arsenal | free of charge with Festival-Registration

GDR 1985, Wendländische Filmkooperative

Accompanied by the sounds of Einstürzende Neubauten, fictitious “acceptance researcher” Dr. Gollwin arrives in Lüchow-Danneberg, Wendland, to analyze events in connection with anti-nuclear activists and develop a pacification strategy. Fiction and documentary are cleverly woven together: while Dr. Gollwin evaluates and comments on actual occurrences, interviews, and encounters, he also intervenes in the proceedings—as part of a human chain, as an interviewer of guards and security personnel at the nuclear reprocessing facility, and as the observer of an official hearing. The ironic distance creates effects a witty survey of activism around the infamous nuclear reprocessing facility and spent fuel repository at Gorleben.

The original material used for the 2K digitization at ARRI Media consisted of a 16mm colour reversal original and the 16mm mix. The audio description for the visually impaired was produced by audioskript. The digitization was supported by the FFA’s “Förderprogramm Filmerbe.”

Kino Arsenal | Admission 8 Euro, free of charge with Festival-Registration

A tour through more than 100 years of film history.

Free of charge with admission ticket.

GDR 1966, directed by Heiner Carow

Tim leads quite a lonely life as the son of a lighthouse keeper. So he’s overjoyed when Pioneer Scouts set up camp on the lighthouse grounds. The kids make friends, and Tim gets permission to travel to Sundevit with them on vacation. But before leaving, he has to run a quick errand. On the way, he keeps coming across people who need him to help them, and he obliges every time—even though the clock is ticking. By the time he gets back, the scouts are gone. Tim follows behind them but runs into trouble. He gets caught on military training grounds and is taken to the police station. Now, when he tells his story, people are there to help him.

The digital remastering of the film was supervised by digital images GmbH in 2017/2018. The original negative was digitized at 4K resolution and remastered in HD. The sound was digitized from a 35mm projection print. The audio description for the visually impaired was produced by Studio 7 Synchron und Untertitel GmbH.

Kino Arsenal | Admission 8 Euro, free of charge with Festival-Registration

FRG 1974, directed by Werner Herzog

Based on the real-life case of Kaspar Hauser, Werner Herzog tells the story of an orphan who grew up in a cellar devoid of human contact as the passion narrative of an outsider who finds no place for himself in the “civilized” world. After Kaspar gets taken in by humanist and pedagogue Daumer and learns basic human functions like talking, walking, sitting at the table, and even playing the piano, the “Natural Child” comes into ever more conflict with the expectations of an early 19th century philistine society governed in equal parts by rationality and religion. Ultimately, he falls victim to murder.

The original negative was scanned at 2K resolution at ALPHA-OMEGA digital GmbH in 2012. The audio description was also produced by ALPHA-OMEGA digital GmbH, in collaboration with radio editor and speaker Norbert Lill.

Kino Arsenal | Admission 8 Euro, free of charge with Festival-Registration

CH/FRG/ES 1958, directed by Ladislao Vajda

A murdered girl is found in Graubünden. The crime attracts attention because two earlier, similar murder cases remain cold after two years. Destitute peddler Jacquier is the prime suspect, although he’s the one who alarmed the police. Inspector Matthäi is sure Jacquier is innocent—but it’s too late: the peddler hangs himself in his cell. Matthäi recalls a drawing by the murdered child that had small spiky balls, a tall man, and a car on it. The inspector rents a gas station under cover and takes in young Ms. Heller, along with her young daughter Annamarie. The little girl is bait. And sure enough, one day a tall stranger comes up to Annamarie.

This film was scanned at 4K resolution from the original 35mm negative in 2016. The original negative represents the English version of the film which is nearly 15 minutes shorter than the German version. The missing scenes were taken from a duplicate negative. The audio description for the visually impaired was produced by Deutsche Hörfilm gGmbH.

Kino Arsenal | Admission 8 Euro, free of charge with Festival-Registration

GDR 1990, directed by: Jörg Foth

This event will be held in German. Please feel free to consult our German-language event calendar for further information.

FRG 1979, directed by: Peter Lilienthal

David will be shown at the Archiveröffnung at Akadmie der Künste in the presence of the director. Jeanine Meerapfel, Eva Mattes and María Teresa Curzio will also be guests. Three days later, the film will be shown at the Arsenal cinema.

Peter Lilienthal (born 1929 in Berlin) fled to Uruguay in 1939, returned to Germany in 1954 and became an important representative of New German Cinema. In 1979, he won the Golden Bear for David, in which he addressed his life as a child in the Third Reich. Lilienthal will talk with Eva Mattes, Jeanine Meerapfel and María Teresa Curzio, followed by a screening of David. Three days later, the film can be seen in the cinema Arsenal.

At the age of ten, Peter Lilienthal (born 1929 in Berlin) fled Nazi Germany to Uruguay. He returned to Berlin in 1954 as a student and became an important representative of New German Cinema. Even before he made movies, Lilienthal made a name for himself as Germany's most experimental, exciting and courageous creator of television games. Like few other directors, he succeeded in creating a recognizable visual language. For David, the processing of his life as a child in the Third Reich, he received the Golden Bear of the Berlinale in 1979. In later films, Lilienthal also deals with the explosive political development of Latin America.

The film series and the restorations were produced in collaboration with the Akademie der Künste, the Edgar Reitz Foundation, von Vietinghoff Filmproduktion and the Zeughauskino. The digitization of the films was supported by the FFA funding programme "Digitisation of German film heritage".

FRG 1970, directed by Peter Lilienthal

This event will be held in German. Please feel free to consult our German-language event calendar for further information.

FRG / A 1975, directed by Peter Lilienthal

This event will be held in German. Please feel free to consult our German-language event calendar for further information.

FRG 1979, directed by: Peter Lilienthal

David will be shown at the Archiveröffnung at Akadmie der Künste in the presence of the director. Jeanine Meerapfel, Eva Mattes and María Teresa Curzio will also be guests. Three days later, the film will be shown at the Arsenal cinema.

Peter Lilienthal (born 1929 in Berlin) fled to Uruguay in 1939, returned to Germany in 1954 and became an important representative of New German Cinema. In 1979, he won the Golden Bear for David, in which he addressed his life as a child in the Third Reich. Lilienthal will talk with Eva Mattes, Jeanine Meerapfel and María Teresa Curzio, followed by a screening of David. Three days later, the film can be seen in the cinema Arsenal.

At the age of ten, Peter Lilienthal (born 1929 in Berlin) fled Nazi Germany to Uruguay. He returned to Berlin in 1954 as a student and became an important representative of New German Cinema. Even before he made movies, Lilienthal made a name for himself as Germany's most experimental, exciting and courageous creator of television games. Like few other directors, he succeeded in creating a recognizable visual language. For David, the processing of his life as a child in the Third Reich, he received the Golden Bear of the Berlinale in 1979. In later films, Lilienthal also deals with the explosive political development of Latin America.

The film series and the restorations were produced in collaboration with the Akademie der Künste, the Edgar Reitz Foundation, von Vietinghoff Filmproduktion and the Zeughauskino. The digitization of the films was supported by the FFA funding programme "Digitisation of German film heritage".

FRG 1980, directed by Peter Lilienthal

This event will be held in German. Please feel free to consult our German-language event calendar for further information.

A tour through more than 100 years of film history.

Free of charge with admission ticket.

FRG 1982, directed by Peter Lilienthal

This event will be held in German. Please feel free to consult our German-language event calendar for further information.

Autograph session at the opening of the new „Collection Lindenstraße“ in the Television Media Library.

With the series' producers, Hana und Hans W. Geißendörfer, and the cast members Irene Fischer (Anna Ziegler), Joachim H. Luger (Hans Beimer), Marie-Luise Marjan (Helga Beimer), Moritz A. Sachs (Klaus Beimer), Gunnar Solka (Peter „Lotti“ Lottmann), Georg Uecker (Dr. Carsten Flöter), Sybille Waury (Tanja Schildknecht), Jacqueline Svilarov (Nina Zöllig), Sara Turchetto (Marcella Varese), Martin Walde (Sunny Zöllig) and other guests.

In cooperation with Geißendörfer Film – und Fernsehproduktion KG and WDR

Event room, 4th floor | Admission free

Free library tour, in german, 5th floor

For the opening of the new "Collection Lindenstraße" in the Television Media Library we dedicate an evening of conversation to the makers of the series, which will be discontinued after 1758 episodes in March 2020.

With the series' producers, Hana und Hans W. Geißendörfer, and the cast members Irene Fischer (Anna Ziegler), Joachim H. Luger (Hans Beimer), Marie-Luise Marjan (Helga Beimer), Moritz A. Sachs (Klaus Beimer), Gunnar Solka (Peter „Lotti“ Lottmann), Georg Uecker (Dr. Carsten Flöter), Sybille Waury (Tanja Schildknecht), Jacqueline Svilarov (Nina Zöllig), Sara Turchetto (Marcella Varese), Martin Walde (Sunny Zöllig) and other guests.

In cooperation with Geißendörfer Film – und Fernsehproduktion KG and WDR.

Event room, 4th floor | Admission free

FRD 1984, directed by Peter Lilienthal

This event will be held in German. Please feel free to consult our German-language event calendar for further information.

FRG 1987, directed by Peter Lilienthal

This event will be held in German. Please feel free to consult our German-language event calendar for further information.

A tour through more than 100 years of film history.

Free of charge with admission ticket.

FRG 1989, directed by Peter Lilienthal

This event will be held in German. Please feel free to consult our German-language event calendar for further information.

This event will be held in German. Please feel free to consult our German-language event calendar for further information.

Registration at the museum box office on the day of the event

For 34 years, life in the television series Lindenstraße has been playing to the beat of German reality: every week, people have loved, lived and married. More than 50 deaths have been reported since broadcasting began in 1985 and 21 children were born. Several marriages were entered into and dissolved, governments elected and voted out of office. From AIDS to zeal, current social issues were regularly put up for discussion here in front of an audience of millions.

Admission free

A tour through more than 100 years of film history.

Free of charge with admission ticket.

A tour through more than 100 years of film history.

Free of charge with admission ticket.

D 1992, directed by: Thomas Heise

This event will be held in German. Please feel free to consult our German-language event calendar for further information.

Opening of the special exhibition

Event room, 4th florr, free entrance

FRG 1966, directed by Peter Lilienthal

This event will be held in German. Please feel free to consult our German-language event calendar for further information.

FRG 1965, directed by Peter Lilienthal

This event will be held in German. Please feel free to consult our German-language event calendar for further information.

Buchvorstellung von Eberhard Fechner. Chronist des Alltäglichen (Band 4 der Schriftenreihe „Fernsehen – Geschichte – Ästhetik“).

Im Anschluss: Filmvorführung von Frankfurter Gold (BRD 1971, Regie: Eberhard Fechner).

Akademie der Künste, Hanseatenweg 10, 10557 Berlin / Eintritt frei

FRG 1968, directed by Peter Lilienthal

This event will be held in German. Please feel free to consult our German-language event calendar for further information.

Free of charge with admission ticket.

FRG 1967, directed by Peter Lilienthal

This event will be held in German. Please feel free to consult our German-language event calendar for further information.

FRG 1971, directed by Peter Lilienthal

This event will be held in German. Please feel free to consult our German-language event calendar for further information.

Free library tour, in german, 5th floor

This event will be held in German. Please feel free to consult our German-language event calendar for further information.

A tour through more than 100 years of film history.

Free of charge with admission ticket.

This event will be held in German.
Free of charge with admission ticket.

A tour through more than 100 years of film history.

Free of charge with admission ticket.

D 1999, directed by Maren-Kea Freese

This event will be held in German. Please feel free to consult our German-language event calendar for further information.

A tour through more than 100 years of film history.

Free of charge with admission ticket.

Free of charge with admission ticket.