Förderpreis für Filmkunst

In order to strengthen exchanges between cinema and the visual arts, the Nationalgalerie and the Deutsche Filmakademie are awarding a joint prize. Alongside the Preis der Nationalgalerie and also issued biennially is conferred the Förderpreis für Filmkunst (Award for Cinematography).

The director must not be older than 40 years as well as live and work in Germany. The film has to be produced in the last three years and should at least have a running time of one minute.

Ten Members of the Deutsche Filmakademie with a special enthusiasm for arts and cinema assemble a short list of works by young filmmakers for the film award. Not only the chosen work is important but also the artistic self-conception and the filmmakers personal vision.

The jury of the Förderpreis für Filmkunst is the same as the first jury of the Preis der Nationalgalerie and will choose the award winner of this list. The winner of the Förderpreis für Filmkunst 2017 is Sandra Wollner with her film “Das unmögliche Bild” (“The Impossible Picture”). The film will be shown alongside with the shortlist exhibition at Hamburger Bahnhof – Museum für Gegenwart – Berlin until January 14, 2018.

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Sandra Wollner (2nd from the right), winner of the Förderpreises für Filmkunst 2017, together with Iris Berben, Alexander Beyer and Meret Becker (all Deutsche Filmakademie) | photo: offenblen.de

Shortlist 2017

Diese süße Wiese_Jasmin Preiß_credit_Jasmin Preiß

Diese süße Wiese | Director: Jasmin Preiß
Germany 2017; 71 min.

Synopsis: Meeting the artist Karim Aouaj El Kasmi, I`m fascinated by a lost man`s beauty. Karim is attempting to find stability and freedom within the restraints of everyday life. As he travels from one place to another, a deeper search, one to achieve balance within himself, is gradually revealed.
Vita: Jasmin Preiß was born 1984 in Bonn. She lives and works in Berlin and Düsseldorf. She is a graduate in fine arts from the Kunstakademie Düsseldorf. Beforehand she studied communication design at Folkwang Hochschule Essen.

Ocean Hill Drive_Miriam Gossing_Lina Sieckmann_credit_Christian Kochmann_Kunsthochschule für Medien

Ocean Hill Drive | Directors: Miriam Gossing and Lina Sieckmann
Germany 2016; 21 min.

Synopsis: Ocean Hill Drive examines a rare phenomenon, the so-called ‚shadowflicker’, that occurs in a suburban area on the outskirts of Boston. As a result of an erroneously installed wind turbine, the flicker effect, which brings to mind structuralist experimental cinema, appears instead in documentary images showing the landscape and architecture of a Massachusetts coast town.The flm focuses on the visual quality of the pulsating shadows that intrude the suburban domestic sphere and disrupt the social and psychological equilibrium of the community. Documentary images are complemented with a female voiceover, which is based on multiple interviews that were transcripted and assembled into a fctious narration. The flm slowly uncovers fragmentary memories from the time when the flicker began. An atmosphere of suspense and intangible fear is generated throughout the film, while the actual source of the flickering lights remains unknown.
Vita: Lina Sieckmann and Miriam Gossing, born 1988, studied at the Kunsthochschule für Medien in Cologne and the Kunstakademie in Düsseldorf. They realised several experimental films on 16mm film, which have been shown at festivals as well as in museums.

Das Unmoegliche Bild

Das unmögliche Bild | Director: Sandra Wollner
Germany / Austria 2016; 70 min.

Synopsis: „Our memory is so unreliable – sometimes what we see might as well be the future.” -Johanna F. Vienna in the 1950’s. A childhood captured on 8mm film, documented by 13-year-old Johanna. A childhood as it might have been. We see fragments of family life and family secrets, an apartment regularly visited by women, centered around grandmother Maria Steinwendner who holds weekly cooking clubs in her kitchen. But somehow, the women never actually seem to do any cooking. “Papa always said you have to be quick if you want to see anything. Because everything vanishes so quickly”, Johanna says to herself as she films the dead body of a cat on the pavement. “But I don’t think that’s true. I think you just have to keep looking”. And Johanna keeps looking. Until the camera’s gaze suddenly turns on herself.
Vita: Sandra Wollner, born in 1983, studied at the University of Vienna and worked as an editor, director and post-production director. Wollner attends the documentary filmmaking program at the Film Academy Baden-Württemberg.

Vanatoare_Alexandra Balteanu_credit_Matan Radin_DFFB

Vanatoare | Director: Alexandra Balteanu
Germany 2016; 75 min.

Synopsis: Short moments and conversations piece together the portrait of three women’s working day. Lidia raises pigeons and lives a mundane existence with a husband and two children. Denisa, the feistier of the three, wants to buy her freeloader boyfriend a new pair of sneakers. Vanesa, the youngest, dreams of finding the perfect guy with green eyes. All three share a workplace as sex-workers under a bridge on the highway connecting Bucharest to the next city. In spite of their rivalry, the three women try to make their time worthwhile by sharing food or spawning stories about their hardships and their loves. Besides the constant competition, they are also pressured by the threat from the local police. Most days are punctuated by visits from the district policemen, who come to collect their ‘pocket money’. The men enjoy playing a game of ‘cat and mouse’ with them and one day, such a visit takes an unexpected turn.
Vita: Alexandra Balteanu was born in Romania in 1982 and lives in Germany since 2003. She studied Media Studies at Bauhaus University in Weimar until 2008. After a filminternship and shooting a short documentary in Romania, she started studying film directing in 2010 at DFFB in Berlin.