The film had its world premiere at the Karlovy Vary International Film Festival.
Strand Releasing has acquired all North American rights to Israeli filmmaker Ofir Raul Graizer’s The Cakemaker from Films Boutique.
Jon Gerrans and Marcus Hu of Strand Releasing and Jean-Christophe Simon and Valeska Neu of Films Boutique negotiated the deal at this year’s German Films Previews at Karlovy Vary.
The Cakemaker centres on a German baker, Thomas, who falls in love with an Israeli businessman. When the businessman dies in an accident, Thomas travels from Germany to Israel to connect with the man’s wife and a bond is formed.
The film has also been acquired in Japan (Shin Nippon), Spain (Karma), Argentina, Chile, Paraguay and Uruguay (Mirada) and Hungary (Cirko Films).
The Cakemaker is an Israeli-German co-production, produced by Itai Kamir from Laila Films and Mathias Schwerbrock at Film Base Berlin.
“We’re thrilled to have this amazing film and hope that...
Strand Releasing has acquired all North American rights to Israeli filmmaker Ofir Raul Graizer’s The Cakemaker from Films Boutique.
Jon Gerrans and Marcus Hu of Strand Releasing and Jean-Christophe Simon and Valeska Neu of Films Boutique negotiated the deal at this year’s German Films Previews at Karlovy Vary.
The Cakemaker centres on a German baker, Thomas, who falls in love with an Israeli businessman. When the businessman dies in an accident, Thomas travels from Germany to Israel to connect with the man’s wife and a bond is formed.
The film has also been acquired in Japan (Shin Nippon), Spain (Karma), Argentina, Chile, Paraguay and Uruguay (Mirada) and Hungary (Cirko Films).
The Cakemaker is an Israeli-German co-production, produced by Itai Kamir from Laila Films and Mathias Schwerbrock at Film Base Berlin.
“We’re thrilled to have this amazing film and hope that...
- 7/7/2017
- ScreenDaily
Drama will explore gay relationships as well as connections between Israel and Germany.
Berlin-based Films Boutique is to handle international sales on the Israeli-born film editor Ofir Raul Graizer’s directorial debut The Cakemaker to be produced by Mathias Schwerbrock’s Film Base Berlin with Israel’s Laila Films.
Schwerbrock told ScreenDaily that the film is planned to go into production this November/December with four days shooting in Berlin and up to two weeks in Jerusalem.
Graizer’s screenplay centres on a young Berliner – a cakemaker by profession – who travels to Israel after the sudden death of his architect lover to learn more about his family background where he begins a relationship with the man’s widow.
“It is an intimate portrait of gay relationships, but also shows the possibility of developing a second relationship,” Schwerbrock explained. “The film also addresses the relationship between Israel and Germany.”
Graizer, who participated in the Nipkow Programm residency in Berlin...
Berlin-based Films Boutique is to handle international sales on the Israeli-born film editor Ofir Raul Graizer’s directorial debut The Cakemaker to be produced by Mathias Schwerbrock’s Film Base Berlin with Israel’s Laila Films.
Schwerbrock told ScreenDaily that the film is planned to go into production this November/December with four days shooting in Berlin and up to two weeks in Jerusalem.
Graizer’s screenplay centres on a young Berliner – a cakemaker by profession – who travels to Israel after the sudden death of his architect lover to learn more about his family background where he begins a relationship with the man’s widow.
“It is an intimate portrait of gay relationships, but also shows the possibility of developing a second relationship,” Schwerbrock explained. “The film also addresses the relationship between Israel and Germany.”
Graizer, who participated in the Nipkow Programm residency in Berlin...
- 9/2/2015
- by screen.berlin@googlemail.com (Martin Blaney)
- ScreenDaily
Drama will explore gay relationships as well as connections between Israel and Germany.
Berlin-based Films Boutique is to handle international sales on the Israeli-born film editor Ofir Raul Graizer’s directorial debut The Cakemaker to be produced by Mathias Schwerbrock’s Film Base Berlin with Israel’s Laila Films.
Schwerbrock told ScreenDaily that the film is planned to go into production this November/December with four days shooting in Berlin and up to two weeks in Jerusalem.
Graizer’s screenplay centres on a young Berliner – a cakemaker by profession – who travels to Israel after the sudden death of his architect lover to learn more about his family background where he begins a relationship with the man’s widow.
“It is an intimate portrait of gay relationships, but also shows the possibility of developing a second relationship,” Schwerbrock explained. “The film also addresses the relationship between Israel and Germany.”
Graizer, who participated in the Nipkow Programm residency in Berlin...
Berlin-based Films Boutique is to handle international sales on the Israeli-born film editor Ofir Raul Graizer’s directorial debut The Cakemaker to be produced by Mathias Schwerbrock’s Film Base Berlin with Israel’s Laila Films.
Schwerbrock told ScreenDaily that the film is planned to go into production this November/December with four days shooting in Berlin and up to two weeks in Jerusalem.
Graizer’s screenplay centres on a young Berliner – a cakemaker by profession – who travels to Israel after the sudden death of his architect lover to learn more about his family background where he begins a relationship with the man’s widow.
“It is an intimate portrait of gay relationships, but also shows the possibility of developing a second relationship,” Schwerbrock explained. “The film also addresses the relationship between Israel and Germany.”
Graizer, who participated in the Nipkow Programm residency in Berlin...
- 9/2/2015
- by screen.berlin@googlemail.com (Martin Blaney)
- ScreenDaily
Don—The King is Back (Don 2) directed by Farhan Akhtar will have a special screening at the 62nd Berlin International Film Festival. The festival announced on Monday the first five films for Competition and films to be screened at Berlinale Special.
Don 2 is an Indo-German co-production and will release in theatres in India on December 23, 2011. Mathias Schwerbrock of Germany is associated with the film as a co-producer along with Farhan Akhtar, Ritesh Sidhwani and Gauri Khan.
The other films to be screened at Berlinale Special are: documentary Marley by Kevin Macdonald from Great Britain and the USA, the Spanish film La chispa de la vida by Álex de la Iglesia, Guy Maddin’s Keyhole from Canada, as well as Werner Herzog’s documentary series Death Row from the USA.
The 62nd Berlin International Film Festival will be held from February 9-19, 2012.
The first five titles in Competition:
Captive...
Don 2 is an Indo-German co-production and will release in theatres in India on December 23, 2011. Mathias Schwerbrock of Germany is associated with the film as a co-producer along with Farhan Akhtar, Ritesh Sidhwani and Gauri Khan.
The other films to be screened at Berlinale Special are: documentary Marley by Kevin Macdonald from Great Britain and the USA, the Spanish film La chispa de la vida by Álex de la Iglesia, Guy Maddin’s Keyhole from Canada, as well as Werner Herzog’s documentary series Death Row from the USA.
The 62nd Berlin International Film Festival will be held from February 9-19, 2012.
The first five titles in Competition:
Captive...
- 12/19/2011
- by NewsDesk
- DearCinema.com
Release of Don 2 – The Chase Continues is a little under half a year away, but we are guilty as charged about the palpable excitement with which we juice up every teeny bit of news we get regarding Farhan Akhtar’s directorial venture. While last week we shared with you 5 awesome things about Don 2, and this week here we are with more information on the film starring the King of Bollywood – Shah Rukh Khan.
While Shah Rukh, Priyanka, Boman and Om Puri continue to essay the roles of their characters Don, Roma, Vardhaan and Malik respectively, Lara Dutta and Kunal Kapoor are the new additions to the fiery ensemble, playing the characters Lara and Sameer Ali Chaudry respectively. While the first part concentrated on Don’s rule in South–Asia, the sequel transports the team to Europe where Don conspires to reign as an international kingpin magnifying the grandeur and scale of the film.
While Shah Rukh, Priyanka, Boman and Om Puri continue to essay the roles of their characters Don, Roma, Vardhaan and Malik respectively, Lara Dutta and Kunal Kapoor are the new additions to the fiery ensemble, playing the characters Lara and Sameer Ali Chaudry respectively. While the first part concentrated on Don’s rule in South–Asia, the sequel transports the team to Europe where Don conspires to reign as an international kingpin magnifying the grandeur and scale of the film.
- 7/27/2011
- by Pooja Rao
- Bollyspice
The personal, political and sexual underpinnings of Max Farberbock's feature debut "Aimee & Jaguar" are endlessly fascinating and shrewdly realized.
The opening film of the 49th Berlin Film Festival is most effective in miniature, capturing the emotional complexities of the relationship between two women in Nazi Germany. But it loses focus when the director attempts to bind their story to a larger context.
A curious amalgam of the 1930s films of Josef von Sternberg (in its sexual flamboyance) and the 1940s work of Michael Powell and Emeric Pressburger (in the stylized air raids that recall such films as "One of Our Aircraft Is Missing"), the film charts the astonishing true story of the quietly tragic love affair of Felice Schragenheim and Lilly Wust during a furious wartime stretch in late 1943 and early 1944.
Adapted from a book by journalist Erica Fischer, Farberbock traces the deep erotic attraction between the women. What transforms their story into something more remarkable is their contrasting position in German society.
Dark, feral Felice (Maria Schrader), code named Jaguar, is a Jewish freedom fighter working in the underground, providing Allied intelligence officials with Nazi codes.
Blond, angular Lilly (Juliane Kohler), called Aimee, is her opposite, the bourgeois wife of a prominent Nazi officer.
On New Year's Eve, while her husband (Detlev Buck) is diverted by the amorous attentions of another woman, Lilly surrenders to the sexually aggressive Felice, setting in motion their all-consuming sexual relationship.
The film is best at dramatizing not simply the taboos their relationship encounters but the deep affection they share. A sense of power and ecstasy is evident in their spontaneity and flow of movement as they desperately seek moments of truth and beauty during a frightening time.
Farberbock, whose first three films were done for German television, is alert to the gradations of their relationship, depicting anticipation, build-up and disruption as he catalogs the arc of their relationship.
If that were all the film was, it would qualify as a small but compelling work. Unfortunately, the larger worldly issues governing the relationship take over and the movie loses its balance as Farberbock finds himself unable to deepen his control over his material.
The focus on the intensity of the women's relationship shifts to one on the cruelty of human nature, specifically the heavy-handed actions of the Nazis. This places the work in a straitjacket.
The events of the script, by Farberbock and Rona Munro, impose an iron grip on a work that was free and unpredictable. Whether a function of the limited budget or Farberbock's inexperience, the scenes outside the relationship lack drive and power.
The film is technically impressive. The burnished color of Tony Imi's cinematography and Mathias Schwerbrock's production design contribute to the picture's sense of a dark, troubled past.
The beautiful, self-contained Schrader has a commanding presence as Jaguar; Kohler is bold in the more difficult part of Aimee.
AIMEE & JAGUAR
Senator Films
A Max Farberbock film
Producers: Gunter Rohrbach, Hanno Huth
Director-screenwriter: Max Farberbock
Screenwriter: Rona Munro
Based on the book by: Erica Fischer
Director of photography: Tony Imi
Editor: Barbara Hennings
Production designer: Mathias Schwerbrock
Costume: Barbara Baum
Music: Gerlinde Kunz, Gerhard Nemetz, Horst Allert
Color/stereo
Cast:
Felice ("Jaguar"): Maria Schrader
Lilly ("Aimee"): Juliane Kohler
Ilse: Johanna Wokalek
Klarchen: Heike Makatsch
Lotte: Elisabeth Degen
Gunther Wust: Detlev Buck
Older Lilly: Inge Keller
Older Ilse: Kyra Mladeck
Running time -- 131 minutes
No MPAA rating...
The opening film of the 49th Berlin Film Festival is most effective in miniature, capturing the emotional complexities of the relationship between two women in Nazi Germany. But it loses focus when the director attempts to bind their story to a larger context.
A curious amalgam of the 1930s films of Josef von Sternberg (in its sexual flamboyance) and the 1940s work of Michael Powell and Emeric Pressburger (in the stylized air raids that recall such films as "One of Our Aircraft Is Missing"), the film charts the astonishing true story of the quietly tragic love affair of Felice Schragenheim and Lilly Wust during a furious wartime stretch in late 1943 and early 1944.
Adapted from a book by journalist Erica Fischer, Farberbock traces the deep erotic attraction between the women. What transforms their story into something more remarkable is their contrasting position in German society.
Dark, feral Felice (Maria Schrader), code named Jaguar, is a Jewish freedom fighter working in the underground, providing Allied intelligence officials with Nazi codes.
Blond, angular Lilly (Juliane Kohler), called Aimee, is her opposite, the bourgeois wife of a prominent Nazi officer.
On New Year's Eve, while her husband (Detlev Buck) is diverted by the amorous attentions of another woman, Lilly surrenders to the sexually aggressive Felice, setting in motion their all-consuming sexual relationship.
The film is best at dramatizing not simply the taboos their relationship encounters but the deep affection they share. A sense of power and ecstasy is evident in their spontaneity and flow of movement as they desperately seek moments of truth and beauty during a frightening time.
Farberbock, whose first three films were done for German television, is alert to the gradations of their relationship, depicting anticipation, build-up and disruption as he catalogs the arc of their relationship.
If that were all the film was, it would qualify as a small but compelling work. Unfortunately, the larger worldly issues governing the relationship take over and the movie loses its balance as Farberbock finds himself unable to deepen his control over his material.
The focus on the intensity of the women's relationship shifts to one on the cruelty of human nature, specifically the heavy-handed actions of the Nazis. This places the work in a straitjacket.
The events of the script, by Farberbock and Rona Munro, impose an iron grip on a work that was free and unpredictable. Whether a function of the limited budget or Farberbock's inexperience, the scenes outside the relationship lack drive and power.
The film is technically impressive. The burnished color of Tony Imi's cinematography and Mathias Schwerbrock's production design contribute to the picture's sense of a dark, troubled past.
The beautiful, self-contained Schrader has a commanding presence as Jaguar; Kohler is bold in the more difficult part of Aimee.
AIMEE & JAGUAR
Senator Films
A Max Farberbock film
Producers: Gunter Rohrbach, Hanno Huth
Director-screenwriter: Max Farberbock
Screenwriter: Rona Munro
Based on the book by: Erica Fischer
Director of photography: Tony Imi
Editor: Barbara Hennings
Production designer: Mathias Schwerbrock
Costume: Barbara Baum
Music: Gerlinde Kunz, Gerhard Nemetz, Horst Allert
Color/stereo
Cast:
Felice ("Jaguar"): Maria Schrader
Lilly ("Aimee"): Juliane Kohler
Ilse: Johanna Wokalek
Klarchen: Heike Makatsch
Lotte: Elisabeth Degen
Gunther Wust: Detlev Buck
Older Lilly: Inge Keller
Older Ilse: Kyra Mladeck
Running time -- 131 minutes
No MPAA rating...
- 2/19/1999
- The Hollywood Reporter - Movie News
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