Jessica Schwarz

Plot: “Crash” isn’t his name, but it’s what they call him. Orphaned at the age of seven after a car accident killed both of his parents, Crash grew up with a scar on his face and a scar in his soul. A fear of intimacy has turned him into a melancholy loner; a longing to help others has led him to become a medic on a rescue team. When he’s not out on the streets saving lives, he dreams. Of escaping. Of finding the young woman who always appears just before he wakes. One night, he comes face to face with the woman of his dreams: November is her name.Read More »

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Rock ‘n’ roll comes to Germany just ahead of the Berlin Wall in “The Red Cockatoo.” Stylish period piece is weighed down by a too-familiar love triangle, generating nostalgia for a difficult time not nearly as successfully as clear predecessor “Good Bye Lenin!”

Unlike helmer Wolfgang Becker’s “Good Bye Lenin!,” “Cockatoo” will work best for those with some knowledge of the early days of the German Democratic Republic and tension generated by the Wall throughout the country.Read More »

The year is 1981, the German New Wave is at the peak. Harry, otherwise Sparkasse trainee, wants to make it big as a manager of the band of his friends, Apollo Schwabing. He has booked the band as the opening act for a concert where the group DAF are the headliners.Read More »

Ekkehard Knörer @ jumpcut.de wrote:
Dominik Graf makes movies for TV that are bigger than TV, but in his case this might be not a problem at all. It seems that his films work best as movies made for TV, TV as movies. This is because of the hackneyed stories he and his writers certainly twist and turn – without the intention, however, of turning them into art. Or rather, it is an art that turns its back to TV. This movement of turning its back remains important, though, as a gesture, a gesture that works best at the place it turns away from: TV. Dominik Graf’s art is an art of transcending TV by means of using it, of reproducing it in a radically transformed way. It remains recognizable in the stories, the motives – not the emotions, though.Read More »

Quote:
Tensions are already mounting during a family celebration on a riverboat when Markus (Andreas Döhler) has a sickening flash of a long-repressed memory. His mother, he realises, sexually abused him, and it’s only now that the thirty-nine-year-old husband and father is beginning to grasp the enormity of the events that his child’s mind shuttered long ago.Read More »