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.
Nine 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.
In 2019, Irene von Alberti, Jule Bartram, Maximilian Haselberger, Sigrid Hoerner, RP Kahl, Anette Kuhn, Tom Schreiber, Jakob Weydemann and Rosa Hannah Ziegler have faced this task and named the four nominees below. The first jury of the Preis der Nationalgalerie has selected Lucia Margarita Bauer and her film Maman Maman Maman to be the winner of the Förderpreis für Filmkunst 2019.
Maman Maman Maman | Director: Lucia Margarita Bauer
Germany 2019, 37 min.
Synopsis: Far too rarely do we experience the process of saying goodbye as an absurd, sometimes even hilarious story. Lucia Margarita Bauer’s grandmother Babet Berger died on 6th April 2012. The story of her semi-criminal transfer from Riedlingen, Swabia, via Paris to the French grave of her husband was the starting point for the film ‘Maman Maman Maman’ in which she sets out in search of her own roots. The film is a kaleidoscope of an anti-portrait. While its particles are spreading in all directions, its center — life and its close ties to death, tragic, comedy and slapstick — remains obscure until the end.
Vita: Lucia Margarita Bauer, born 1979, moves from home at the age of 13, lives in Berlin and travels to the USA at the age of 14. After a two-year stay in Ireland, she moved to Ulm at the age of 16 and finished her goldsmith apprenticeship at the age of 22. Without a valid school-leaving qualification she went to Strasbourg for a year to study at the Ecole des Beaux Arts and later continued her studies in Berlin with a degree in Experimental Media Design. She curated numerous exhibitions in Berlin, including the Santa Lucia Galerie der Gespräche. As a photographer for various magazines she has portrayed Pan Daijing, Albert Oehlen and Claude Lanzmann, among others.
Imperial Valley (Cultivated Run-Off) | Director: Lukas Marxt
Germany 2018, 14 min.
Synopsis: The Imperial Valley is one of California’s most important regions for industrial agricultural production. Marxt is transforming Imperial Valley into the “Uncanny Valley”, a place that is not yet or no longer natural and thereby appears eerie. A landscape post landscape (or its
medial representation) is a geometric concept of lines, surfaces, points and color spots, regardless whether of an animate or lifeless nature. Although manmade, it is not a place for people anymore, neither ontologically nor in reality. The post-apocalypse is not a matter of the future, we are already in the thick of it.
Vita: The Austrian artist Lukas Marxt, born in 1983, studied Audiovisual Design at the Universität für künstlerische Gestaltung in Linz, at the Hochschule für Grafik und Buchkunst in Leipzig and at the Kunsthochschule für Medien in Cologne. His work is dedicated to socio-political and
ecological structures in the context of the Anthropocene. He combines documentary and conceptual approaches, uses different media and thus creates abstract and deconstructed image spaces.
Final Stage | Director: Nicolaas Schmidt
Germany 2017, 27 min.
Synopsis: A teenager walks through a shopping mall crying. A sequence shot in a fictional coming-of-age film with minimal dramaturgy. The 12 minute-long tracking shot accompanies him laterally and spontaneously captures minimal events and the smallest gestures of the passers-by who are also present. The emphatically long shot, a visual language between documentary observation and subtle staging as well as the discrepancy between image and sound collage make the situation appear as a fragile construct of a familiar reality.
Vita: Nicolaas Schmidt, born 1979, lives and works in Hamburg. He studied Visual Communication/Film and Fine Arts (Mixed Media, Time Based Media) at the Hochschule für Bildende Künste Hamburg. His works are shown internationally at film festivals and exhibitions. ‘Final Stage’ is a graduation film and was awarded the First Steps Award 2017 in the category ‘mid-length feature film’.
Happy Happy Baby | Director: Jan Soldat
Germany 2017, 20 min.
Synopsis: In his short film ‘Happy Happy Baby’, Jan Soldat explores the phenomenon of socalled adult babies and accompanies adults who return to their infancy. They wear diapers, play with building blocks, drink from the baby bottle and have bedtime stories read to them before falling asleep in an oversized crib with their dummies in their mouths. They find a place of refuge where sex does not matter, but where the focus is on living out their own desires and preferences.
Vita: Jan Soldat, born 1984, has produced short films at the Chemnitzer Filmwerkstatt since 2006 and began studying film and television directing at the HFF Konrad Wold in Potsdam in 2008. His focus is on documentary film formats. He has been invited to the Berlinale, Oberhausen, Rotterdam and Viennale several times with his films. In his works, Jan Soldat looks at existing realities that may seem strange to some and shows that one can appreciate humanity in men across categories.