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PASSANT EN FI LMP R ODUKT I O N p r e se n t s
SIBYLLE
(LIKE A CAST SHADOW)
A FI LM B Y
MIC H AEL KRUMMEN AC H E R
in COLLAB OR AT I ON W ITH
UNI V E RSI TY OF TELEVISION AN D FI LM MU N I C H
I N CO-P R ODUCT I ON W ITH
BAVARIAN BROADC ASTI N G, BR
2015, GER MANY
87 min
A rri Al exa 2K, 1:1.85, c o lo r, Dolb y S R D,
Ger man
C O N TA C T
PA S S A N T E N FI L M P R O D U K T I O N G b R
Dachauer Strasse 114
D-80636 München
GERMANY
+ 4 9 (0 )1 7 6 3 2 7 6 9 7 2 4
[email protected]
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SYNOPSIS
Yo u m a y h o u s e t h e i r b o d i e s b u t
not their souls, for their souls
d w e l l i n t h e h o u s e o f t o m o r r o w,
which you cannot visit,
not even in your dreams.
- Khalil Gibran, On Ch i ld r e n
S om e t h i n g i n d e f i n i t e s e e m s t o b e g n a w i n g o n
t h e pr a g m a t i c a r c h i t e c t , m o t h e r a n d w i f e S i b y l l e
Froebisch. Not even on her family vacation in
Italy does she manage to relax and get
a good night‘s rest.
Du r i n g a m o r n i n g w a l k o n t h e c l i f f s o f L a k e
Garda she witnesses the suicide of a woman
he r a g e . D i s t r e s s e d b y t h i s e v e n t , S i b y l l e ‘ s
perception of her own life changes and sets a
process in motion, which threatens to destroy
e ve r y t h i n g s h e h a s d e f i n e d h e r s e l f b y s o f a r. . .
MICHAEL KRUMMENACHER
ON SIBYLLE
SIBYLLE was named after its main character. What‘s
the reason for this?
In Greek mythology one oftentimes encounters a
‚Sibylle‘ - a woman, who can see into the future
and feels the need to communicate her disturbing
visions to others. The idea to have a woman as
a protagonist, who sees beyond what is normally
accepted as ‚reality‘, fascinated me from the ver y
beginning of creating SIBYLLE.
When watching all your films including SIBYLLE
one notices, that behind a seemingly intact facade
there‘s always something menacing lurking, waiting
to come for ward.
It‘s Leonard Cohen who wrote the lyrics: „There‘s
a crack in ever ything, that‘s how the light gets in“.
I‘m drawn to these cracks in our world and in the
reality of my film characters. The light coming
through shows a state of mind, which my film
characters for themselves often tr y to deny as long
as somehow possible. Sibylle for example is doing
just that: She sees the cause of her problems in the
changing of others, but ultimately has to realize
that she‘s the one, who‘s changed and has become
a danger for the others. Sooner or later the cracks
break open and ideally this process helps my
characters finding their own self.
T h e origin o f thi s feel i ng as well a s S ib ylle‘ s
dif f e r e n t vi ew of real i ty are n ev er d efin itely
clarif ie d in the fi l m. Why no t?
I s ee cinema as a real m o f exp e r i e n c e a n d n ot
of clea r a nsw ers. T he who l e pro d u c t i on p r oc e ss
of SIBY LLE fo ll o w ed t he maxi m t h a t a ll t h e
op tica l a nd dramat ic alienat io ns of t h e c i n e m a t i c
rea lity ha d t o ser v e as a v isible a n d t a n g i b le
d em on s tra t io n o f Sibyl le‘s c h a n g i n g wor ld .
I n ever want ed t o expo se my p r ot a g on i st b y
contra s tin g her subjec t iv e perc e p t i on of t h i n g s
with a n objec t iv e v iew o n t he sc e n e r y, sa yi n g :
„It‘s jus t her. Ev er yt hing is ac t ua lly n or m a l“ . Th i s
kin d of vie w is a purely c inemat i c i n ve n t i on for a
ca lm ing of t he v iew er. Sibyll e‘s r e a li t y c h a n g e s
a nd s o her realit y is , as she pe r c e i ve s i t . An d
who a ctua ll y k no ws if t here aren ‘ t t h i n g s t h a t n ot
a ll of us can see?
SI BY L L E is a co mbi nati o n of cla s s ic a l d r a m a
an d psycho-thri l l er. To what ex ten t h a s th e
imple me n t a ti o n
of
g enre-s pe cific
elem en ts
in flue n ce d the co ncepti o n o f the film ?
The f irs t idea behind SI B YLL E wa s a ve r y
con crete image: T he pat h o f t wo wom e n , looki n g
id en tica l at first sight , c ro sse s. Th i s i m a g e
took h old o f me, prec isely beca u se i t b or e a n
un ca n ny myst ic ism in it s unc e r t a i n t y. It wa s
theref or a l o gic al c o nsequenc e t o follow t h i s
un d erly in g feel ing during t he d e ve lop m e n t of
the s crip t and t o c reat e a c inem a t i c wor ld t h a t
a llows moment s t hat are no t pu r e ly n a t u r a li st i c .
zula s s en kann, die nic ht rein nat u r a li st i sc h si n d .
Aft e r a l l t h e f i l m c o v e r s s u b j e c t s t h a t a r e v e r y
r e a li s t i c : t h e p u b e s c e n t s o n , t h e d r i f t i n g a p a r t o f
a relationship in a point in life, when ever ything is
st i ll po s s i b l e , t h e a l i e n a t i o n f r o m t h e e n v i r o n m e n t
a n d o n e ‘ s f a m i l y. Hi d d e n b e h i n d t h i s i s a l o t o f
‚ H orr o r ‘ t h o u g h . A l l o f t h e s e s u b j e c t s h a v e t o d o
wi t h f e a r s . Wi t h t h e f e a r o f l o s i n g c o n t r o l , t h e
fe a r o f n o t b e i n g n e e d e d o r l o v e d a n y m o r e . I n
or d e r t o b e a b l e t o e x p e r i e n c e t h e s e f e e l i n g s
cinematically it proved extraordinarily helpful
to implement genre-specific elements. The codes
and iconographies of the genre can offer immense
fr e e d o m , o n c e y o u d a r e t o e x p e r i m e n t w i t h t h e m .
Wh y a re g e nre f i l m s i n G e r m a n c i ne m a s t i l l a n
ex c e p t i o n ra t he r t ha n t he r u l e ?
I d o n ‘ t s e e S I BY L L E a s a r e a l g e n r e f i l m . I t ‘ s
m or e a d r a m a m a k i n g u s e g e n r e e l e m e n t s . Bu t
I actually find it‘s a pity that genres and the
d i ve r s i t y t h e y c a n b r i n g w i t h t h e m a r e s o o f t e n
n e g at e d i n G e r m a n c i n e m a , w h e r e m a n y s e e a n
a lm o s t u t t e r l y s o b e r a n d r e a l i s t i c d e p i c t i o n o f l i f e
as the ultimate goal of filmmaking. Given that
fi lm s a l w a y s c o n t a i n a n i n e v i t a b l e s t y l i s a t i o n I
wa s t e m p t e d t o c o n s c i o u s l y d o t h i s w i t h S I BY L L E
- e ve n t h o u g h o r p r e c i s e l y b e c a u s e t h i s t e r r a i n
carries higher risks. In general I definitely prefer
fi lm s t h a t r i s k s o m e t h i n g a n d p o t e n t i a l l y f a i l o r
c on t ai n c e r t a i n e l e m e n t s t h a t d o n ‘ t „w o r k “ a s
op p o s e d t o f i l m s t h a t u s e u p a l l t h e i r e n e r g y
t o e ns u r e e v e r y t h i n g i s b e i n g d o n e „c o r r e c t l y “,
wh i ls t c o m i n g o u t a n a e m i c i n t h e e n d .
We r e t h e r e fi l ms that acted as a lea d in g ex a m p le
f or SI B Y L L E?
D uri ng the pr ep a r a t ions for t h e s h o o t i n g I s p e n t
a l o t o f time wit h my dir ect or o f p h o t o gr a p h y,
Jak o b W i es ner. Apar t fr om t he c o n c r e t e wo r k
o n the adapt at ion of t he s cr ipt we s p e n t a lo t
o f ti me stu d ying ot h er movies . Wh i le p r e p a r i n g
S IBY LLE w e focus ed on t he at mo s p h e r e , t h e u s e
o f spac e and t h e d eg r ee of s tyli s a t i o n , wh i c h
c an be broug h t int o t he film t h r o u gh t h e u s e o f
c ame ra an d lig ht . Impor t ant g en r e f i lms f o r o u r
w o rk w e re a mon g ot her s : T HE SHIN IN G ( Ku b r i c k ) ,
TH E TE NA NT ( Pola n s ki) , SUSPIRIA ( A r ge n t o ) ,
but al so non - g en r e movies like D E S E RTO RO S S O
(Anto ni o ni ) , PERSON A ( B er g mann ) o r F E A R O F
F E AR (F assb in d er ) . T HREE COLOU RS : B LU E a n d LA
D OU BLE VIE DE V ERONIQUE by K r ys z t o f Ki e s lo ws k
w e re an i mpor t ant s our ce of ins pir a t i o n r e ga r d i n g
the m anne r of lig ht ing .
SI B Y L L E wu rde am G ardas ee u n d in Mü n c h en
ge dr e h t . Was war au s s chl ag g ebe n d fü r d ie Wa h l
de r D r e h or te?
I studi e d i n M un ich, wh ile never a c t u a lly h a v i n g
sho t a fi l m t h er e. I t hink I was s o me wh a t t i r e d o f
Muni c h‘ s dep ict ion in film. T he c i t y i s o f t e n t i me s
po r traye d a s eit h er p r ovincia l or p i c t u r e s q u e o r,
o n the o ther hand, it s wor ldlin es s i s e xa gge r a t e d .
We w e re tempt ed t o s how a n ot her s i d e o f M u n i c h ,
a c i ty w her e old and new ex is t s i d e b y s i d e ,
w hi c h allows for s omet imes ve r y i d i o s yn c r a t i c
c o nne cti o n s .
La k e Ga r d a , on t he ot her ha nd , i s a v er y p op u l a r
h o li da y d est i na t i on a m ong p eop l e f r om M u ni c h,
mo s tl y b ec a u se i t ‘ s not t oo f a r a w a y f r om t he
c i t y. We v i si t ed t he Ga r d a a r ea w hi l e w or k i ng
o n the sc r i p t a nd r ea l i sed , t ha t i t of f er s m u c h
mo r e i nt er est i ng l oc a t i ons t ha n w e‘ d ex p ec t ed . I t
wa s c r u c i a l f or u s t ha t w e f i nd f i l m i ng l oc a t i ons,
wh i c h c a n d ep i c t t he i nc r ea si ng t r a nsf or m a t i on
o f S i b y l l e‘ s w or l d . T hu s t he i m a g es f r om M u ni c h
a n d t he ones f r om L a k e Ga r d a w er e t o c ont r a st
e a c h ot her, b u t a l so t o c oex i st i n a sor t of m i r r or
e f f e c t . T her ef or t he hou si ng c om p l ex i n M u ni c h f or
e xa m p l e a p p ea r s a s a r t i f i c i a l a nd enc l osed a s t he
h o li da y v i l l a g e a t L a k e Ga r d a .
O n e c a n‘ t he l p b u t no t i c e t he re o c c u rri ng na m e s
a p p o i nt e d t o k e y p o s i t i o ns i n y o u r c re w i n a l l
you r f i l m s .
Th e r e d ef i ni t el y i s a sor t of „ f i l m f a m i l y “ , w hi c h ha s
gr o w n c l osel y t og et her ov er t he c ou r se of sev er a l
f i lms. T hi s r esu l t ed i n i m m ense m u t u a l t r u st - y ou
k n o w t he ot her ‘ s st r eng t hs a nd w ea k nesses a nd
yo u d ev el op a c om m on l a ng u a g e, w hi c h y ou c a n
b u i ld on, w i t hou t ha v i ng t o st a r t f r om sc r a t c h w i t h
e v e r y new f i l m . SI B Y L L E w a s i n ev er y a sp ec t t he
b i ggest p r oj ec t f or u s a l l u p t o d a t e. W i t hou t t hi s
c o mm on g r ou nd i t w ou l d ha v e b een u nt hi nk a b l e.
SI B Y L L E r e s u l ted as a mere g radu a tion film a t th e
Un iv e rsit y o f Tel evi s i on and F i l m Mu n ich . D es p ite
t h e r e lat ivel y l ow bu dg et, par t of it w a s s h ot
abr oad an d even i n a bi g fi l m s tu d io in Mu n ich .
How is t h a t pos s i bl e?
Be c ause of t he t ig ht b udg et c o mb i n e d wi t h
hi gh de mands in t er ms of vis ua l q u a li t y a lo t o f
c re ati v i ty wa s r eq uir ed fr om t h e p r o d u c t i o n s i d e .
F o r e xam ple, we kn ew fr om ea r ly o n t h a t i t wo u ld
be unsati sfying t o have t o s hoot all t h e a p a r t me n t sce ne s i n Munich in a n or ig inal lo c a t i o n , b u t we
also kne w t h a t building our own s t u d i o - lo c a t i o n
w o ul d be far out of our fin a n cial r e a c h .
A fe w w eeks befor e t he s hoo t i n g s t a r t e d we
c o i nci de nta lly h ear d of t h e con s t r u c t i o n o f a
studi o -lo c at ian of t h e ex a ct s a me a p a r t me n t we
w e re planning t o film in. T h e s t ud i o a p a r t me n t wa s
bui lt fo r a T V- film s et in t h e s ix t i e s , s i gn i f i c a n t ly
l arge r than t h e or ig inal a p a r t ment , wa s f a r a wa y
fro m any neig h b our s and would e n a b le u s t o s h o o t
i n a much mor e comfor t able wa y, r e s u lt i n g i n a
hi ghe r v i su a l qua lit y.
S o o ur prod ucer Gwen d olin St o lz v e n t u r e d o u t
and be gan p er s is t en t ly n eg ot iati n g o n d i f f e r e n t
l e v e l s o v e r t he cour s e of s eve r a l we e k s , u n t i l
the y co mplied and left t h e s t ud i o s t a n d i n g a f t e r
fi ni shi ng the s hoot ing of t he T V-f i lm. Th a t me a n t
that w e c o u ld now t a ke over t h e s tu d i o f o r S IB Y LLE .
I thi nk thi s a n ecd ot e s ays a wh o le lo t a b o u t h o w
S IBY LLE w as ma d e pos s ib le.
I n a d d i t i o n t o t he p ro d u c t i o n vo l u m e t he f i l m
b oa st s a t o p - c l a s s c a s t , f ro m l e a d t o s u p p o r t ro l e s .
F o r t he st y l e of t he f i l m i t w a s v er y i m p or t a nt f or
me t ha t t he a c t or s d ep i c t ed a l l t he c ha r a c t er s i n a
wi lf u l m a nner a nd g a v e t hem a u ni q u e f a c e. We
we r e v er y l u c k y t ha t ou r sc r i p t a nd t he p l a nned
s t yle of ou r f i l m w er e a b l e t o c onv i nc e w ond er f u l
a c t o rs. A b ov e a l l A nne R a t t e Pol l e of c ou r se, w ho
i s s een i n ev er y sc ene a nd w ho st ood i n f r ont of
t h e c a m er a d a i l y f or f or t y d a y s st r a i g ht d i sp l a y i ng
r e ma r k a b l e a nd t i r el ess ener g y. I a m v er y t ha nk f u l
f o r t he f a i t h she a nd a l l t he ot her a c t or s ha d i n ou r
project.
MICHAEL KRUMMENACHER
FILMOGRAPHY
M icha el Krummenac her was bor n i n 1985 i n
Sch wy z ( CH). Aft er sho o t ing his fi r st sh or t fi lm s
d uring h igh sc ho o l in 2005 he a t t e n d e d t h e
F ilmma king I nt ensiv e Wo rk shop a t C olu m b i a
U n ivers ity in New Yo rk Cit y. I n 2006 h e b e g a n
s tud y in g direc t ing fo r c inema and TV-fi lm a t t h e
U n ivers ity o f Telev isio n and Film M u n i c h . H e m e t
Peter Ba ra no wsk i, wit h w ho m he e st a b li sh e d t h e
com p a ny P assant en Filmpro duk ti on i n 2009. In
th e s a m e year Krummenac her sho t h i s fi r st fe a t u r e
f ilm HINTER DI ESEN B ER GEN, wh i c h p r e m i e r e d
a t th e Inte r nat io nal R o t t erdam Fi lm F e st i va l. H i s
s hor t f ilm WENN ALLE DA SI ND wa s n om i n a t e d
f or the G er man Sho r t Fil m Award i n 2012.
2015
2014
2012
2010
2009
2008
2007
( D ire ct or & C o-Wri ter)
M icha el Kr ummenac her liv es and wor ks i n M u n i c h
a nd Zurich. H is new pro jec t H EIM ATL AN D, a n
omn ib us f ilm, direc t ed by sev eral S wi ss d i r e c t or s,
is currently in po st pro duc t io n. Two fu r t h e r fi lm
p rojects - a neo -w est er n and an a d a p t a t i on of a
novel - a re being dev el o ped at t h e t i m e b e i n g .
( S E LEC T I O N)
SIBYLLE, feature film
NEULICH IN MEINER WOHNUNG, shor t film
WENN ALLE DA SIND, shor t film
HINTER DIESEN BERGEN, feature film
PARALYZING AND LAZY DAYS, documentar y
DER GAST, shor t film
UND DRAUSSEN FLIRREN, shor t film
PA S S A N T E N F I L M P R O D U K T I O N
SILVIA WOLKAN
Pa s s a nten Fil mpro duk t io n was l a u n c h e d i n 2009
b y d irecto rs P et er B arano w sk i a n d M i c h a e l
Krummen ac her w it h t he go al t o gai n m or e c r e a t i ve
f reed om in t he pro duc t io n o f t h e i r own fi lm s.
Sin ce th en sev eral films hav e c om e t o li fe , su c h
a s th e f ea t ure fil ms SYB I LLE and H IN TER DIES EN
BE RG E N as well as int er nat ion a lly su c c e ssfu l
s h or t f ilm s, amo ng t hem R AUSC H G IF T ( Pa r d i n o
d ‘Oro, Loc ar no 2011) and WENN AL L E DA S IN D
( n omin a tio n Ger man Sho r t Film Awa r d 2012) .
S i lvia Wo l k a n w a s b o r n i n 1 9 8 0 i n O b e r s t d o r f .
Aft e r h e r b a c c a l a u r e a t e i n 2 0 0 0 s h e s t u d i e d a t
the German Institute for Literature in Leipzig.
She began studying scriptwriting in 2006 at the
Un i v e r s i t y o f Te l e v i s i o n a n d Fi l m M u n i c h . S I BY L L E
i s t h e s e c o n d s c r i p t f o r a f e a t u r e f i l m a f t e r HI N T E R
DIESE N BE R G E N r e s u l t i n g f r o m c o l l a b o r a t i o n
wi t h M i c h a e l K r u m m e n a c h e r.
( Wr i t e r)
GWENDOLIN STOLZ
JAKOB WIESSNER
G wen d olin St o l z w as bo r n in 19 83 i n Tü b i n g e n .
She received her dipl o ma in c ultu r a l st u d i e s a n d
a es th etic prac t ic e at t he Univ ersit y of H i ld e sh e i m .
D urin g h er st udies she gained prac t i c a l e xp e r i e n c e
in the f ilm i ndust r y. Aft er her st udi e s sh e wor ke d a s
a m a rketing assist ant fo r X-Verlei h B e r li n , b e for e
b eing a ccept ed at t he Univ ersi t y of Te le vi si on
a nd F ilm Munic h in 2010. At t he t i m e b e i n g sh e
is d eveloping her first feat ure fil m a s a d i r e c t or.
Ja ko b Wi e s s n e r w a s b o r n i n 1 9 8 4 i n M u n i c h .
Th e re h e s t u d i e d a r t h i s t o r y, b e f o r e b e g i n n i n g
h i s c a m e r a s t u d i e s a t t h e U n i v e r s i t y o f Te l e v i s i o n
a n d Fi l m M u n i c h i n 2 0 0 6 . S i n c e 2 0 0 8 h e ‘ s
been working as an assistant and DoP for the
B e lgi a n v i d e o a r t i s t D a v i d Cl a e r b o u t . S I BY L L E
i st t h e s e c o n d f e a t u r e f i l m a f t e r HI N T E R D I E S E N
B ER GE N w h i c h Wi e s s n e r h a s c r e a t e d t o g e t h e r
wi t h M i c h a e l K r u m m e n a c h e r.
( P r oduce r)
( D ir e c t o r o f P ho t o g ra p hy )
A N N E R AT T E P O L L E
THOMAS LOIBL
An ne Ra tte P o l le, bo r n in Cl o ppe n b u r g , m a i n ly
works a s an ac t ress in l arge t heat r e p r od u c t i on s.
Th e utterly v ersat ile ac t ress ha s b e e n li vi n g
in Berlin sinc e 2005. T here sh e ‘ s h a d g u e st
p er f or m a nc es in t he Ger man T he a t r e , t h e M a xi m
G orki Th e at re and t he H ebbe l Th e a t r e u n d
wa s a p a r t o f t he per manent e n se m b le of t h e
Volks b üh ne. She bec ame k no w n t o m ovi e -g oe r s
with h er roles played in WI LLENB R O C K ( 2005)
b y An d rea s Dresen and in NI GHT S ON G S ( 2004)
b y Rom ua ld Kar mak ar.
Th om a s L o i b l w a s b o r n i n Br ü g g e n a m N i e d e r r h e i n .
He got his education at the drama school in
B oc hu m . A f t e r h i s f i r s t r o l e a t t h e T h e a t r e o f
Du ss e l d o r f , h e c o n t i n u e d t o p l a y a t t h e N a t i o n a l
Th e a t r e i n S t u t t g a r t , t h e M u n i c h K a m m e r s p i e l e
a n d t h e N a t i o n a l T h e a t r e o f Ba v a r i a . A t t h e t i m e
b e i ng T h o m a s L o i b l i s a n a c t o r a t t h e T h e a t r e
of Z u r i c h . T h e c i n e m a a n d T V a u d i e n c e s k n o w
L oi bl f r o m S O M M E R I N O R A N G E (2 0 1 0 ), D I E
V ER ME S S U N G D E R W E LT (2 0 1 2 ) a n d Z E I T D E R
H EL D E N (2 0 1 3 ).
DENNIS KAMITZ
LEVI LANG
Th e up - a nd-c o ming ac t o r Dennis Ka m i t z wa s b or n i n
1 9 9 5 in Sc hil do w, B erlin, where h e li ve s u p t o d a t e .
Af ter s everal l eading ro les in sho r t fi lm s, i n c lu d i n g
CRA Z Y DE NNI S T I GER by Jan Sold a t ( n om i n a t i on
G er m a n Sho r t Fil m P rize 201 2) , i n S IB YL L E
Ka m itz p lays his first k ey ro l e in a fe a t u r e fi lm .
L e vi L a n g , b o r n i n 2 0 0 5 i n M u n i c h , w a s d i s c o v e r e d
in a broadly conceived casting and chosen to
p la y L u c a . T h e s h o o t i n g o f S I BY L L E w a s h i s f i r s t
e xp e r i e n c e i n a c t i n g . A f t e r s h o o t i n g S I BY L L E h e ‘ s
enthusiastically started playing in musicals.
( Siby lle )
( D av id)
( J a n)
( Lu c a )
CAST
Sib y lle
Anne R at t e Polle
J a nT ho mas L oi b l
D a vid Dennis K a m i t z
Luca Lev i Lang
J us tus H eik o Pi n kowski
Id a Elisabet h R a t h
Ya n nickT ho mas F r ä n z e l
Kla ra Franzisk a R i e c k
D er Por tier T ho mas B e st va t e r
Step h a nAndreas L u st
CREW
D irectorMic hael K r u m m e n a c h e r
WriterSilv ia Wolka n
Mic hael K r u m m e n a c h e r
E x ecutive Pro duc er
Gwendo li n S t olz
Prod ucerVero nik a N e u b e r
D oPJak o b Wi e ssn e r
Prod uction Designer
Mark us Di c klh u b e r
Cos tum eMariann e B a c h
M a ke- up Kat harin a S t e r k
Soun d Rec o rdist Mat t hias Pa t z e lt
Soun d D es igner
Jö rg Elsn e r
Soun d M ixing
Andrew M ot t l
Color G ra ding
Manfred Tu r e k
Comp os er
Great B la c k Wa t e r s
E d itorSt ine So n n e M u n c h
PA S S A N T E N FI L M P R O D U K T I O N p r e s e n t s
in collaboration with
UN IV E R S I T Y O F T E L E V I S I O N A N D FI L M M U N I CH
in co-production with
BAVA R I A N BR O A D C A S T I N G , BR
Martin Kowalczyk, Natalie Lambsdorff,
Hu b e r t v o n S p r e t i
funded by
FFF BAY E R N
K U LT U R K O M M I S S I O N K A N T O N S C HW Y Z
B eauftragte der Bundesregierung f ü r
K ultur und M edien
B undesministerium f ü r Bildung und
Forschung
w w w. s i by l l e -f i l m . de