Now in its seventh year the Perspektive Deutsches Kino section once again proved that (young) German cinema has nothing to hide. “The original idea of Perspektive was to infuse a new self-confidence into German film, by showing that every year there are German directors who have stories worth telling.” A look back at previous years as well as at the 2008 programme shows the project has been a success. Section director Alfred Holighaus reveals how German film presented itself at the Berlinale 2008.
Perspektive Deutsches Kino is celebrating is seventh edition this year. Did you suffer from the seven-year curse while putting the programme together or would you say the preliminary results are all-in-all positive this year?
It was difficult preparing this year, as only relatively few productions really stood out from the broad mass. In terms of quantity there were just as many films as usual, but the chaff separated from the wheat much quicker than in previous years. Thankfully, there was still a lot happening in the area of new talent, one of the key focal points of the Perspektive. Beyond that we have the advantage of being able to show shorter 30-60 minute formats – often student films. And they are often a positive surprise. And so, at the end of the day, I’m very happy with our programme.
When you take stock of the first seven years, what conclusions would you draw? In which direction do you see young German film heading towards? Looking back, can you predict what the future holds?
The nicest thing is that over those seven years I’ve never once had to ask myself what I was doing and whether it was meaningful. It’s not something that’s anachronistic or unsustainable. The original idea of the Perspektive was to infuse a new self-confidence into German cinema and to show that every year there are German directors who have something worth telling and therefore make interesting films. With this claim as a premise, we simple got started and the past six or seven years have proven that we were right. During this time there was never a serious crisis, because you could always see that new films were coming. Several of the directors have since made a name for themselves abroad. And so one can definitely say that the Perspektive is an authority, and not just within the festival, but within the entire German film scene.
Does the relationship to the film schools mean you have an ever-larger assortment of films that you can fall back on?