Erec Brehmer

Karl Valentin is the greatest Bavarian comedian... but: maybe it's all just a misunderstanding? In any case, Valentin only saw himself as a folk singer, but he also produced Dadaist works of art and wrote futuristic songs. Today, he has a reputation as a comedian who has somewhat fallen out of time. In this film essay, Andreas Ammers asks contemporary comedians such as Luise Kinseher, Willy Astor, Helmut Schleich and Christian Springer about their relationship to their great ancestor. Above all, however, he examines how Karl Valentin would come across if he were played in High German today.

In 1996, one of the biggest media scandals in German history shook the public: Michael Born, a self-made journalist, had faked over twenty reports for the newly established private television station between 1990 and 1996. Some seemed amateurish, others dealt with absurd topics: child labor for IKEA in India, drug addicts licking toads to get high, and the Ku Klux Klan in the Eifel region were just some of his numerous fabrications. How did it come to this? Was Michael Born an enlightened figure who subversively exposed the tabloid system, a victim of the system, or simply a bumbling fraud? Film traces Michael Born's footsteps. Put together from hundreds of hours of raw material and the memories of former companions, an incredible story of forgery emerges. A media-theoretical film about levels of reality, fake news, and the question: Why do we actually believe what we see?

Since the outbreak of the global corona pandemic, the number of anti-Semitic content on the Internet and social media has also been increasing. Researchers see a connection between online radicalization and anti-Semitic violence – and also attacks. "Jud Süß 2.0" documents the visual roots of this new anti-Semitism.

Sanne's and Markus' relationship is in crisis. They go on holiday together, but accidentally fly to the wrong island. There, in desperation, they break into an empty holiday home and embark on a role-play using new identities. At first, the game is an exciting rediscovery of their relationship, but it becomes increasingly destructive as they force themselves into archaic roles.

November 9, 1989, the day the Wall came down, was one of those days when it became clear that the world had changed "immediately and without delay" once and for all. [...] But it was not only politics and the lives of many people that changed with the world, but also the way we think. And more permanently than one might think. For a long time after that evening, there were calls for a major, analytical reappraisal of what had happened. After all the talk about bananas, the German feature pages hoped for "the great German novel of the turnaround". The fact that this has not appeared in the last 30 years has to do with the fact that thinking and art have changed forever along with the world. (Text: Armin Kratzert; Translated with DeepL) (Poster: dpa-Bildfunk/Peter Kneffel)

Filmmaker Erec Brehmer's world collapses when his longtime partner Angelina Zeidler dies in a car accident. Using personal videos, photos, voice messages, diary entries and music they shared, he creates ways of meeting and loving her again despite her absence. "We don't talk about the dead, even though that's the only thing we can still do" once someone is gone. And so, Who We Will Have Been is less a documentary and more a mode of communication with the deceased, where slow motion, reverse and soundbites taken in a totally different context suddenly give profound meaning and subtext. When Angi asks in a saved video "Am I still in time?" it resonates with deep, universal, spooky-action-at-a-distance significance. Do we still exist in time without a body and out of mind? Brehmer's powerfully emotional and absorbing meditation on living with loss recognizes that grief changes, but never really ends, like love.

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