press kit_der nachtmahr_en

PRESS KIT “DER NACHTMAHR“
SYNOPSIS
Tina is 17 years old and seemingly has everything a girl her age could wish for. But one night
after an intense party, she begins having severe nightmares. From this point forward she is
haunted daily by a profoundly hideous creature. Her parents do not believe her story.
The only one with whom she talks about her fears is her psychiatrist. He encourages her to
get in touch with the creature. At first Tina refuses to, but after she overhears her parents’
plans to put her in a mental hospital, she overcomes her fear and begins talking to creature.
To her surprise, Tina discovers that the creature actually exists as a personification of her
fears, and that it perceives the same emotions and sensations as she does. Out of fear of
being taken for a freak by her friends and family, she hides the creature in her room. And as
time goes by she loses her disgust of him. A trusting relationship develops between Tina and
creature - much like with a wild animal found abandoned in the wilderness - and by dealing
with the creature Tina learns more about her true self. However, before long, her parents and
eventually her friends discover the creature with their own eyes…
NEWS RELEASE
DER NACHTMAHR, somewhat reminiscent of Donnie Darko and Spring Breakers, is a fresh,
young and powerful film out of Germany. Without judging his characters, AKIZ, in his second
feature film, tells the gripping, and at times terrifying, story of a young girl who falls
completely out of her normal reality. With extraordinary performances by the newly
discovered talent Carolyn Genzkow in her first feature film role, as well as Sina Tkotsch
(“Beautiful Bitch”), Wilson Gonzalez Ochsenknecht (“Die Hippies, Long Live Punk!”) and
Alexander Scheer (“Carlos – The Jackal”), DER NACHTMAHR portrays in electrifying
fashion, and through an aggressive and pulsating soundtrack, what it is like to feel young and
isolated, seemingly without hope, only to finally come to terms with one’s self in the end.
PRESS QUOTES
„The director AKIZ has mixed black romance, comic as well as horror elements to give shape
to Tina’s fears. […] AKIZ has not made a typical coming-of-age story, [...], with a great
soundtrack and very good looking girls.” -- (Süddeutsche Zeitung)
"DER NACHTMAHR" is bound to be one of the most assaulting teasers you will see [...]. With
a barrage of striking images set against a soundtrack designed to make your heart race, it
hints at a sensory experience that will only serve to be more terrifying and bizarre when seen
on the big screen.“ -- (Indiewire)
„A beautiful film which has already received much international attention, and for which
festivals will surely battle.” -- (Christoph Gröner, Section “New German Cinema”/ Filmfest
Munich)
"DER NACHTMAHR" is an exceptionally well-done and good looking first film, intelligently
constructed, beautifully featured, shot in short mostly dark takes, underlayed with a fast
beating soundtrack.“ -- (Fipresci)
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AKIZ - Screenplay & Director / Producer
Biography:
AKIZ studied directing at the Filmakademie Baden-Württemberg. His thesis film was
nominated for an Academy Award. Until 2004 he worked on documentary films and freelance
work. Parallel to that he has been working on sculptures and paintings as well as other art
projects. His short film PAINTING REALITY was shot in 2010. The film was discovered by
Banksy, and was then featured in his film THE ANTIC'S ROAD SHOW and was also shown
at the Saatchi Gallery London in 2013. The production company OOO-Films was founded by
AKIZ in 2012 which has now produced its first feature film with DER NACHTMAHR. 2014
Kim Gordon (Sonic Youth) presents AKIZ work at MoMA in New York together with Ad Rock
(Beasty Boys) as part of the "PopRally“. Since 2015 AKIZ has been working together with
Philip Virus as part of the directing collective „Pentagon“. DER NACHTMAHR is AKIZ’ first
part of the „Demonic Trilogy“, which as part of a film cycle deals with the triptych “Birth, Love
and Death”.
Filmography
’10 EVOKATION
Short film
'10 PAINTING REALITY
Short film
'15 NOVAKANIA
Short film
’15 DER NACHTMAHR
Feature film
`16 DIE WEISSE BRIGADE
Feature film (in preparation)
DIRECTOR’S NOTE
DER NACHTMAHR is the first part of the ‘Demonic Trilogy’ “Birth, Love and Death” in which
a creature, as an amorphous fetus figure, becomes visible for the first time. All parts of the
triptych deal with a more or less “speechless” creature which is confronted by society and
generates chaos.
DER NACHTMAHR is for me a story of a young warrior who pushes her way through a
media-obsessed world and eventually finds her true self again.
The drama isn’t triggered by “evil” antagonists who make life difficult for the leading actress.
On the contrary, it was important to me that nobody in the story reacts in a cold-hearted or
ruthless way towards Tina’s problem. It is left up to the audience whether Tina’s alienation
from her environment is triggered or reinforced through the almighty multimedia
interconnectedness of the youngsters or if Tina’s “differentness” in our contemporary
“perfect” society is the root of the problem which globally has been diagnosed as youth
depression by psychologists.
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INTERVIEW WITH DIRECTOR AND SCREENPLAY WRITER AKIZ
How would you define the film’s genre?
DER NACHTMAHR can’t be classified in any well-defined genre. This also wouldn’t have
interested me. It is not a classical coming of age film. And at the same time also not a horror
film in which a monster runs around and kills people. It’s more about deep psychological
aspects, like you can find in the work of Sigmund Freud, Johann Wolfgang von Goethe, C.G.
Jung or William Blake – my biggest idol. Maybe the term "Narcotic-Mindfuck-Melodrama"
says it best. The most suitable and flattering term which I heard in this context is „New
Germany Fantastic Cinema“. This is the most accurate since the roots of DER NACHTMAHR
lie in the expressionist films of the 20’s.
What was the original idea for the film?
With this film I never sat in front of a sheet of white paper and pondered what I should write
about. To begin with, I just wanted to make a static figure made of cast stone. The underlying
idea was a mixture between a very old man and an embryo. This was more than 13 years
ago. When the figure was done, I had the idea to make it again out of soft material and to
give it a realistic surface so I could take pictures of it in different surroundings, I was living in
Los Angeles at the time and wanted to take pictures of the figure next to highways and on
the verge of industrial areas. This is where the civilized and industrial world border with the
rough and desert like nature. Like the part on the verge of the human field of vision, where
the visible part merges with the blind part at the edge of the pupil. Later on the mechanics
and the breathing were added since I wanted to shoot a scene in which the creature was
driving while a girl was sleeping on the passenger seat.
Although I’m a sculptor, I’m not familiar with the technical details on how handle foam latex,
precision mechanics and so on so that the work to build the creature lasted several years. In
this time I wrote down a lot of notes which were the foundation of writing this particular script.
It might sound odd but it feels to me like I wasn’t the one who actually came up with the
story. Although I found these notes between the tools when I was building this creature but I
can hardly remember having written these notes and they also seemed strange to me. Some
parts I couldn’t even read. Although it was without a doubt my very own handwriting. I then
tried to place these moments and pictures into a logical structure. The actual story made first
sense to me when I discovered that these particular notes were more like pages of a diary
from the various characters from the movie, describing the same phenomenon out of their
own view. As I discovered later on, I have subconsciously used a technique the surrealist in
the 20’s called "ecriture automatique“.
Why did you choose Berlin as the setting?
It was a simple logistical decision to shoot the film there. My network, my friends and
everyone who was involved with this movie lives in Berlin. Locations and technical
equipment, everything is cheaper in Berlin. Apart from that Berlin is the focal point of youth
culture which at the moment can’t be found anywhere else in the world. The mix between
teenagers, music, art and drugs in this concentration is unique.
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The film uses music in an extreme and unusual way. In some parts it seems like an
independent main role…
Yes, the music indeed plays a special part in this film. I wouldn’t call myself a techno freak.
But this kind of music is important for this kind of film and setting. It is the only music known
to me which can trigger such state of trance amongst the listeners both for the protagonists
as well as the audience. We partially worked with isochromatic and binaural sounds which
take the narcotic and hypnotic perception to the extremes. I have never seen this in a movie
and I always wanted to try this out.
Your film is an observation of German teenage society. How do you think people in
other countries will look at this film?
I think the problem Tina has to deal with is very common. The feeling of not being perfect,
having to hide something from others or discover things which are perceived as unpleasant
or repulsive and just don’t fit the perfect picture which one wants to portray in order to be
perceived as attractive on our modern society. This is a phenomenon in teenagers all around
the world.
Now that the film is finished, it is perceived with great interest here in Germany but what
really astonishes us that it is causing considerably more euphoric reactions abroad. Why this
is the case, I don’t know.
Looking at your artwork it looks like you are especially interested in demons, females
and altered states of mind. Would you agree?
That’s possible. Until the age of twenty-five I suffered from epileptic fits and I myself had
visions from early childhood on. The frightening thing about it was never the visions but the
fact of being outcast from the people around you. Therefore I had huge problems as a child.
With time I have learned to live with it and actually use these visions for my art.
According to what you say your film seems to be kind of autobiographic. Why did you
choose a girl as a main character then?
First of all to create distance towards myself. Also I’m more interested in working with women
than with men.
Tell us about your choice of casting on this project and what motivated you to work
with Kim Gordon and Carolyn Genzkow for example?
I found Carolyn through the casting process. She was the only one who could act with a
VFX-creature a believable way as if it was a real creature. That might sound trivial but it is
very difficult to play with an inanimate puppet behind which there are various puppet players.
It wasn’t until the first few days of shooting when I noticed certain familiarities between
Carolyn and the actual Nachtmahr who came to live almost a decade before shooting
started. Carolyn’s work is unique and fascinating at the same time. She is incredibly
intelligent and talented. It was an honor for me to work with this great talent.
Kim Gordon was in Berlin a year before shooting began and invited me to her birthday
because she was a big fan of my last film „Eight Miles high“. After we got to know each other
she told me she would love to work with me on one of my films. I was so honored by that,
that at once I rewrote a part for her so she could act in her mother tongue. Later on the idea
came that she could sing a song for DER NACHTMAHR. It was absurd. If somebody would
have told me ten years ago that Kim Gordon, the lead singer of “Sonic Youth” plays a part in
our film and subsequently sings the credits song. Unbelievable.
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Was the project hard to finance?
Hard to finance is not even getting close. It was more like almost impossible. At the end of
the day we shot this film with a smaller budget than expected. Even if Germany and
specifically Berlin is renowned as a cultural capital in which the fine arts are always breaking
new grounds, the film industry is rather conservative. To be frank after many years of
endless efforts, it hit me harder than I wanted to admit to myself. I heard from different sides,
that people were laughing about me since I took the creature from production company to
production company to find a partner for the film.
Luckily at some point I met Amir Hamz, Christian Springer and Simon Rühlemann who
helped me to finance the film. The feeling of anger only strengthened our will not to give up
and to believe in the story. Besides we have a large network of friends who work in the film
industry who were fascinated by the creature and the story that they offered their work for
free on this project. That’s how we could produce this film independently.
And even if a small budget seems like a huge limitation at first it is actually a luxurious thing
as there is nobody who gets in your way about the creative outcome of this film. Also when
shooting with a micro-budget you get to work with a lot of young and creative people which
makes the work a lot of fun instead of working with the "old dogs“ who for me have an
outdated impression of working professionally. At the end of the day the people around me
are just as important as the story itself. Therefore I’m not complaining about shooting on a
small budget but I’m actually grateful and proud what we did with it.
How long was the shoot?
21 days. Between 5 and 12 hours a day. The reason why we were able to make the film
despite VFX in such a short time was the preparation. And also, because we had very little
technical requirements and we only shot with hand cameras and without additional
lightening.
The film uses a very unique camera style. Why did you shoot everything with wideangle lenses?
Because it comes the closest to my personal perception. I actually had huge difficulties
finding the right DP who would work with wide-angle lenses using only available light. For
most of them it was too delicate and unfamiliar especially for experienced DP`s. Finally I
found my DP Clemens Baumeister through my producer Simon Rühlemann who is just like
him in his late twenties and has never before worked on a feature film. But as I said before,
I’m much more attracted by the energy and curiosity of the actual people than by their
experience. To work with Clemens and Simon made this shoot simply a dream. I had the
feeling that through this wide angle look and the available light everything you see on the big
screen seems more realistic. To me it‘s a lot more important than the argument that it actual
distorts the optical vision in particular faces and such.
The film gives no explanation what the Nachtmahr stands for or what the reason of his
appearance actually is. What is he symbolizing?
That is a common question. But basically I don‘t know more than the audience. I rather see
myself as a messenger who doesn’t know the content of the message he’s delivering. Of
course I have my own personal interpretation but I don`t want to talk about that as I want to
give the audience member the chance to paint his own picture. I actually believe that the
Rorschach inkblot test is the perfect piece of art because everyone can perceive it as they
wish. I even took some elements which indicated a too specific interpretation out of the
script. My agents for example interpreted the creature of the Nachtmahr as an incarnation of
a bulimia because the Nachtmahr always eats everything out of the fridge while Tina is very
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skinny and has to puke etc. Others see in the Nachtmahr a variation of Hades who takes
Tina into his kingdom of the dead. I even heard the interpretation that the Nachtmahr is a
vision of an unwanted pregnancy because he looks like a fetus and in the film there are
many references leading to an embryo. It’s really flattering for me to listen to all these
numerous interpretations. Films which leave no room for interpretation don‘t interest me.
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CAST
Carolyn Genzkow - Tina
Carolyn Genzkow was born in Hamburg in 1992 and at seven years old was discovered on
the street and hired for a commercial shoot. Several photo shoots and commercials followed.
In 2006 the inexperienced autodidact was cast for a main part in Eberhard Riedlsperger’s
„Am Ende des Schweigens“, which after being released led to new offers, such as „Die
Pefferkörner“, „Dr.Martin“ (von 2007- – 2009) „TATORT-Macht der Angst“, „Unter anderen
Umständen“, „Tatort TATORT- Unbestechlich“, „Die Gerichtsmedizinerin“ and „Der
Bergdoktor“.
Carolyn Genzkow’s big break came in 2010 with two ARD Wednesday films. Directed by
Dror Zahavi she was very convincing in her part alongside Götz George in „Zivilcourage“,
which was awarded best feature film at the presentation of the “Goldenen Kamera” and for
which Carolyn received the Grimme-Preis (Audience award of the Marler group).
In the film „Keine Angst“ director Aelrun Goette guided Carolyn through her most difficult role
to date. In October 2010 Carolyn Genzkow received the German TV award as best emerging
talent for her outstanding performance in that film. In 2011 “Keine Angst“ was awarded the
Grimme-Peis. Since 2012 Carolyn Genzkow has played various episode roles in films like
“Der Kriminalist”, “Vermisst” or “Soko Stuttgart”. Alongside Meret Becker and Mark Waschke
she played a guest student in “ Tatort – Das Mulli”. This part will be continued in 2015.
Furthermore she will also shot two further episodes of the spring series as Kiki Baumann.
Wilson Gonzalez Ochsenknecht - Adam
Wilson Gonzalez Ochsenknecht, born 18 March 1990 in Munich as a son of the actor Uwe
Ochsenknecht, through his father has been in front of the camera already at the age of nine
and played a small part in Doris Dörries “"Erleuchtung garantiert" (1999).
He made the big breakthrough three years later alongside his brother Jimi Blue with a main
part in the children’s film “Die wilden Kerle” which is about a clique of young soccer players.
Through the great success of this film, as well as the three sequels in the years 2005, 2006
and 2007, Wilson Gonzalez Ochsenknecht (as well as his brother) becomes one of
Germany’s most popular teenager idols, particularly among female fans. 2006 Ochsenknecht
leaves for the US where he studies at the California Art Academy for a year. After his return
he founds the pop-rock-band "Heads on the Rocks", which publishes its first album called
“Cookies” in May 2008. This reaches place 85 in the German album charts while the single
“NYC” makes it to place 29 of the single charts. In the same year Ochsenknecht plays a
supporting role in the teen movie “Freche Mädchen” (2008) for which he receives the
Undine-Award as best young supporting actor and a DIVA-Award as "New Talent Of The
Year 2008". In 2009 he was again in front of the camera with his brother Jimi Blue in the teen
drama "Gangs". 2012 as well as 2015 he took on parts in Oskar Roehler’s films “Quellen des
Lebens” and “Tod den Hippies!! Es lebe der Punk”.
Alexander Scheer – Psychologist
Alexander Scheer, born 1st of June 1976 in Berlin (East), after school he makes a living with
occasional jobs as postman, cemetery gardener, and barkeeper. He first gained experience
as an actor in advertising. He made his theatre debut in the late nineties at the Berlin OffTheatre TiK. He is an autodidact who never went to drama school and had his breakthrough
with his first feature film role in Leander Haussmanns "Sonnenallee”. Following this film,
Haussmann took him to the Bochumer Schauspielhaus. Since 2002 Scheer has belonged to
the ensemble of the Berliner Volksbühne. Among Scheers well-known movies are the satire
"Viktor Vogel – Commercial Man" with Götz George and Sven Taddickens "Mein Bruder, der
Vampir". Scheer who in his selection of projects has remained true to the headstrong
Arthouse-Cinema plays a delicate role in the Uschi Obermaier biopic "Das wilde Leben":
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Therein he embodies the rock legend Keith Richards.
In 2010 Scheer can be seen in the movies Sven Taddickens "Zwölf Meter ohne Kopf" and in
the terrorist drama "Carlos - Der Schakal" which successfully premiered at the film festival in
Cannes and was released in German cinemas in late 2010. In 2013 Scheer was part of the
ensemble of Klaus Lemkes low-budget-film "Kein Großsses Ding", which premiered at the
Viennale. A leading role Scheer played in the same year as a lonely DDR-emigrant in
Christian Schwochows award-winning drama "Westen", which started in German cinemas in
March 2014. Lastly Scheer was seen playing Blixa Bargeld for Oskar Roehlers "Tod den
Hippies!! Es lebe der Punk".
Kim Gordon - Teacher
Kim Gordon, born 28th of April 1953 in Rochester/New York, is thte daughter of a professor of
sociology and a tailor. She grew up in Los Angeles where she attended the University High
School and then studied Art and Design at Otis College. In the early 80’s she worked as art
critic for the American art magazine Artforum and also for several galleries in New York.
From 1981 onwards she was the bassist, guitarist and singer of the No-Wave-/Noise-RockBand Sonic Youth. Furthermore she is co-founder of the rock bands CKM, Free Kitten and
Harry Crews and acts as music producer. 1981 she curated an exhibition at the White
Columns Gallery. She also curated an exhibition at the MU Art Foundation in Utrecht under
the title Kim’s Bedroom, in which works of Jessica Wood, Jutta Koether, Rita Ackermann,
Spike Jonze, Sophia Coppola, Richard Kern and Raymond Pettibon as well as her own
works are represented. Her own works are shown in numerous exhibitions in the US, Europe
and Japan, and among others at the Biennale in Goteborg in 2003. Together with Spike
Jonze she shot the music video for “Cannonball” from The Breeders. In 2012
YOKOKIMTHURSTON was released which is a joint album by Kim Gordon, Thurston Moore
and Yoko Ono. Besides her work as a musician, she plays small parts and cameo
appearance, including among others in “I`m Not There”, “The Perks of Being a Wallflower”,
“Gilmore Girls”, and “Boarding Gate”. In 2015 her successful autobiography “Girl in a Band”
was published.
Sina Tkotsch - Barbara
Sina Tkotsch, born 27th of June 1990 in Berlin. was exposed to acting by chance in primary
school. At the age of nine, she was offered a main part in "Florian - Liebe aus ganzem
Herzen" (1999), a TV movie about a family which expects a child with Down-Syndrome. In
the years following she had numerous supporting roles in TV films like „Die Salsaprinzessin"
(2001) and guest appearances in crime series like "Tatort"; in the successful children series
"Wie erziehe ich meine Eltern" (2002-2004) she played the daughter of the family Freytag.
She had her feature film debut in Martin Theo Krieger’s social drama "Beautiful Bitch" in
2006, playing a teenager from a wealthy family who becomes friends with a Bulgarian street
girl. This was followed by a number of prominent parts for cinema and TV films: In Felix
Fuchssteiner's directing debut "Draußen am See" (2009) Tkotsch played the oldest daughter
of a seemingly harmonious family; in the same year she played in Rainer Matsutani's youth
drama "Gangs" the ex-girlfriend of a criminal gang leader. In the drama "Sie hat es verdient"
(2010, TV) she plays a sensitive student who is persuaded by a dominant friend to do a fatal
prank.
In the adaptation of the bestseller "Dschungelkind" (2011) directed by Roland Suso Richter,
she plays a girl who with her parents grows up the jungle of West-Papua. Tkotsch played
leading roles in TV entertainment such as the romance "Im Schatten des Pferdemondes"
(2010), the disaster film "380.000 Volt - Der große Stromausfall" (2010) and the mystery
drama "Blutsschwestern - Jung, magisch, tödlich" (2013). In the comedy "Ohne Gnade"
which started in German cinemas in spring 2013 she played a feature film role. Therein she
was part of a trio of attractive women who use their feminine charms to take revenge on
mankind.
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CREW
Amir Hamz - Producer
Born 1979 in Frankfurt. 2001 Bachelor of Arts in Hamburg. 2004 Master of Fine Arts in
Documentary Directing in England. 2008 Master in Journalism and Political Science in
Hamburg. From 2004 onwards directing and production of documentary films and music
videos. Amongst these „Sounds of Silence" (2006), „Iran Spezial" (2007, ARTE) as well as
other documentaries for NDR and ZDF. Parallel to that Hamz worked as Development
Producer for MME Moviement. 2011 until 2014 Producer for Millbrook Pictures in Berlin and
Initiator of the "SCHOLARtreat" writers programme as well as the „Millbrook Autorenpreis" in
cooperation with the Hofer Filmtage. Since 2013 Producer with Bon Voyage Films for DER
NACHTMAHR as well as „Paradise“. Since 2014 Freelance Producer for Port-Au-Prince in
Berlin and Producer of the Martin Suter bestseller adaptation “The Dark Side Of The Moon”.
He joined forces with Christian Springer to launch Bon Voyage Films.
Christian Springer - Producer
Born 1960, Traben-Trarbach/ Mosel. Graduate engineer of the HDM Stuttgart. Since 1990
production manager and line producer for numerous TV and cinema films, amongst others
„Der Seeroesenteich“, „Neger, Neger, Schornsteinfeger“, „Bella Block“, “Mein Leben - Marcel
Reich-Ranicki“ , Ruzowitzkys „ Die Fälscher" („Academy Award“ 2008 best foreign language
filme), Rothemund „Groupies bleiben nicht zum Frühstück“ oder Groblers „Der ganz grosse
Traum“. This was followed by award-winning films as line producer with Fatih Akin’s
production company Corazon International, amongst others „Auf der anderen Seite“, „Chiko“,
„Soul Kitchen“ and „BLUTZBRÜDAZ“. For Fatih Akin’s film „The Cut“, Springer acted as
Executive Producer. 2012 until 2014 Producer for Millbrook Pictures in Berlin (among others
Co-Producer for Martin Suter bestseller adaptation „The Dark Side Of The Moon”). 2013
Producer with Bon Voyage Films for DER NACHTMAHR. He joined forces with Amir Hamz to
launch Bon Voyage Films.
Simon Rühlemann - Producer
Born 1986 in Erfurt. He studied film production at the Filmakademie Baden-Württemberg.
Since 2005 he has been free-lancing for various movie and TV productions („Das Weisse
Band“, „The Bourne Ultimatum“, „3 Zimmer, Küche, Bad” u.v.a.) and since 2011 also works
as freelance producer for several commercial projects. Since 2013 managing director of
OOO-Films.
Clemens Baumeister – Director of Photography
Born 1983 in Münster. After 2 semesters of architecture at the university in Braunschweig, he
studied art for four semesters at the University of Applied Science in Hannover. During this
time, Baumeister began working as camera assistant for various productions such as Ziegler
Film, Sony Picture Film and WDR. This was followed by studies in photography at the
Filmakademie in Baden-Württemberg, during which he worked as director of photography for
commercials and completed his studies in 2011.
Steffen Kahles & Christoph Blaser – Filmmusic Composers
Steffen Kahles and Christoph Blaser for the past ten years make up a musical creative duo.
Blaser whose background is in electronic music came together with the multi-instrumentalist
Kahles through the pop project Elektrostar. Three years later the collaboration of the two
composers was strengthened through numerous film and commercial music projects.
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In 2006 the director Sven Taddicken from Hamburg worked together with Kahles and Blaser
for his film „Emmas Glück“. During his studies at the Filmakademie Ludwigsburg, Taddicken
came across the film music of „Ring of Fire“ and hence got the team on board for his new
film. In 2008 the team worked together with the German-Turkish director Buket Alakus for the
„Finnischen Tango”. The energetic and cheerful film music was awarded the „Golden Brig
Award 2009“. Taddickens „12 Meter ohne Kopf“ takes Kahles and Blaser in 2009 with
Störtebeker sailing across the Baltic sea. The success of Kahles and Blaser comes from their
passion and eagerness to experiment. Steffen Kahles trusts the value of experimentation:
„You don’t have to be able to play every instrument in order to be able to use it“, while
Christoph Blaser is convinced of the thought of musical individuality: „Replaceability needs to
be avoided”.
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CREDITS
Directed and screenplay by
Production Company
In Co-Production with
Produced by
Director of Photography
Editor
VFX
Production Design
Costume Design
Make-Up
Re-Recording Mixer
Composer
Sound Design
Sound Mixer
Casting
Video Post Production Facility
Audio Post Production Facility
AKIZ
OOO-Films Produktion
Bon Voyage Films
Amir Hamz, Christian Springer, AKIZ, Simon Rühlemann
Clemens Baumeister
AKIZ, Philipp Virus, Anna-Kristin Nekarda
LIGA 01 Computerfilm
Anne Schlaich & Vera Koch
Laura Büchel
Lena Lazzarotto
Florian Holzner
Steffen Kahles und Christoph Blaser
Leo Brunnsteiner & Manfred Mvié Bauche
Thomas Diesel & Benjamin Gruber
Karen Wendland & Silke Koch
Optical Art Digital & Film
DIE BASISberlin
Country
Year
Runtime
Germany
2015
88 min.
Press contact:
Katharina Maas
+49 178 86 42 721
[email protected]
Press files for download:
Please contact Katharina Maas for further material
Website:
www.dernachtmahr.com
World sales:
K5 Media Group
Konradinstr. 5
81543 Munich
phone +49 (0) 89 37 50 559 10
fax +49 (0) 89 37505590-5
[email protected]
www.k5mediagroup.com
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