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Anmaßung
Anamnesis
AUTEUR(S)-RÉALISATEUR(S)

Chris Wright, Stefan Kolbe

IMAGE

Stefan Kolbe

SON

Chris Wright

MONTAGE

Chris Wright

MUSIQUE ORIGINALE

Johannes Winde

PRODUCTION / DIFFUSION

Ma.Ja.De Filmproduktions GmbH

PARTICIPATION

Mitteldeutsche Medienförderung (MDM)

ORGANISME(S) DÉTENTEUR(S) ou DÉPOSITAIRE(S)

Deckert Distribution GmbH

ISAN : non renseigné - en savoir plus
COMMENT VISIONNER CE FILM ?

Pas de résumé français disponible

The filmmakers first meet Stefan in 2015, in the therapy ward of Brandenburg Prison. Their first impression is of a polite, shy man. A warder tells them Stefan is an ice-cold woman-killer.
The filmmakers follow him through the last years of his prison term. They face some uncomfortable questions. Can anyone really know what is going on inside this man? The part of the protagonist is taken by a puppet, the scenes shift into theatre. Truth and falsehood blend in a cascade of presumption.

"“What do we see when we can’t see something?” This is the question that Chris Wright, one of the two directors, poses off-screen at the beginning. It’s a big question and one that takes him to the heart of a key dilemma in documentary filmmaking.
What we don’t see is the face of the most important figure in the film, Stefan S., who is serving a life sentence in a Brandenburg jail. He is in preventative custody, but can leave the prison from time to time; release on parole is also a possibility, but the weight of the guilt hangs heavy. Stefan S. killed a female colleague of his after stalking her. This generates unease. Who wants to deal with a criminal? Who wants to even see him?
Filmmakers Chris Wright and Stefan Kolbe have never been ones to separate off the difficult facets of human existence. They keep looking, even as Stefan S. withdraws. They substitute the absence of the perpetrator’s face by allowing a puppet and two puppeteers to take the stage, supplemented by masks, reflections and projections. The film is held together by the motif of threads and strings, and the voiceover has the courage to express doubts about the entire endeavour."
(Berlinale 2021)

The filmmakers first meet Stefan in 2015, in the therapy ward of Brandenburg Prison. Their first impression is of a polite, shy man. A warder tells them Stefan is an ice-cold woman-killer.
The filmmakers follow him through the last years of his prison term. They face some uncomfortable questions. Can anyone really know what is going on inside this man? The part of the protagonist is taken by a puppet, the scenes shift into theatre. Truth and falsehood blend in a cascade of presumption.

"“What do we see when we can’t see something?” This is the question that Chris Wright, one of the two directors, poses off-screen at the beginning. It’s a big question and one that takes him to the heart of a key dilemma in documentary filmmaking.
What we don’t see is the face of the most important figure in the film, Stefan S., who is serving a life sentence in a Brandenburg jail. He is in preventative custody, but can leave the prison from time to time; release on parole is also a possibility, but the weight of the guilt hangs heavy. Stefan S. killed a female colleague of his after stalking her. This generates unease. Who wants to deal with a criminal? Who wants to even see him?
Filmmakers Chris Wright and Stefan Kolbe have never been ones to separate off the difficult facets of human existence. They keep looking, even as Stefan S. withdraws. They substitute the absence of the perpetrator’s face by allowing a puppet and two puppeteers to take the stage, supplemented by masks, reflections and projections. The film is held together by the motif of threads and strings, and the voiceover has the courage to express doubts about the entire endeavour."
(Berlinale 2021)

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