BBC drama “Informer,” which originally starred Paddy Considine, Bel Powley and Nabhaan Rizwan, is getting a German adaptation.
Production has begun in Hamburg, Germany, on “Informant,” an adaptation of the All3Media International scripted format, which was BAFTA-nominated. The BBC One show was executive produced by Sam Mendes, who produced via his production outfit Neal Street Productions.
The six-part German thriller is being produced by filmpool fiction (part of All3Media Deutschland) for Ndr, Ard Degeto, Arte and Nrk (Norway). The show is expected to debut in fall 2024.
Starring Jürgen Vogel (“Trust Me”), Elisa Schlott (“Das Boot”) and Ivar Wafaei (“Rheingold”), “Informant” tells the story of how the ‘war on terror’ and indications of an attack on the Elbphilharmonie in Hamburg plunges people into a maelstrom of fear, prejudice and hysteria.
The cast also includes Gabriela Maria Schmeide, Bayan Layla, Claudia Michelsen, Sabrina Ceesay, Nico Holonics, Ali Reza Ahmadi and Majid Bakhtiari.
Production has begun in Hamburg, Germany, on “Informant,” an adaptation of the All3Media International scripted format, which was BAFTA-nominated. The BBC One show was executive produced by Sam Mendes, who produced via his production outfit Neal Street Productions.
The six-part German thriller is being produced by filmpool fiction (part of All3Media Deutschland) for Ndr, Ard Degeto, Arte and Nrk (Norway). The show is expected to debut in fall 2024.
Starring Jürgen Vogel (“Trust Me”), Elisa Schlott (“Das Boot”) and Ivar Wafaei (“Rheingold”), “Informant” tells the story of how the ‘war on terror’ and indications of an attack on the Elbphilharmonie in Hamburg plunges people into a maelstrom of fear, prejudice and hysteria.
The cast also includes Gabriela Maria Schmeide, Bayan Layla, Claudia Michelsen, Sabrina Ceesay, Nico Holonics, Ali Reza Ahmadi and Majid Bakhtiari.
- 6/22/2023
- by Manori Ravindran
- Variety Film + TV
Munich-based sales agency Global Screen has sold crime drama “Dark Woods” to streaming service Walter Presents for the U.K., where it’ll be shown on Channel 4’s All 4 platform, and across the Nordic Region, via C More.
The drama, which was produced by ConradFilm and Bavaria Fiction on behalf of Ndr and Ard Degeto for Das Erste, was the most-watched show on Ard’s catch-up service in Germany this year, and was the German TV Award winner.
Julia Weber, head of acquisitions and sales at Global Screen, said: “We are thrilled to announce the acquisition of this highly original and sought-after series, across Scandinavia and in the U.K., where crime drama has proved to be a key genre and is hugely popular with viewers of all ages.”
The show, inspired by real-life-events, starts out in the summer of 1989, when the sister of high-ranking Hamburg police officer Thomas...
The drama, which was produced by ConradFilm and Bavaria Fiction on behalf of Ndr and Ard Degeto for Das Erste, was the most-watched show on Ard’s catch-up service in Germany this year, and was the German TV Award winner.
Julia Weber, head of acquisitions and sales at Global Screen, said: “We are thrilled to announce the acquisition of this highly original and sought-after series, across Scandinavia and in the U.K., where crime drama has proved to be a key genre and is hugely popular with viewers of all ages.”
The show, inspired by real-life-events, starts out in the summer of 1989, when the sister of high-ranking Hamburg police officer Thomas...
- 11/30/2021
- by Leo Barraclough
- Variety Film + TV
Telepool’s Global Screen has sold the miniseries “Dark Woods” to further international territories, including Japan (Nhk Enterprises), Cis (Mauris Film), Poland (Canal Plus), Czech Republic (Ceska Televize), Slovenia (Rtv Slovenija), Latvia (Latvian Television), Lithuania (Lrt), India and sub-continents (BookMyShow), and French-speaking Switzerland (Rts).
Deals for the U.K., Australia, Scandinavia and Portugal are expected to close before Mipcom, while sales to North America (Topic Media), France (Canal Plus) and Spain (Cosmo TV) were revealed earlier this year.
“We are thrilled to announce the next slate of deals for this highly original series,” stated Julia Weber, head of acquisitions and sales at Global Screen. “With its mix of crime and drama, the excellent acting and a unique, gripping atmosphere, ‘Dark Woods’ is a perfect match for all clients looking for high-end European content. The outstanding ratings in Germany – it was the most-watched program in Ard’s catch-up TV in 2020 – along...
Deals for the U.K., Australia, Scandinavia and Portugal are expected to close before Mipcom, while sales to North America (Topic Media), France (Canal Plus) and Spain (Cosmo TV) were revealed earlier this year.
“We are thrilled to announce the next slate of deals for this highly original series,” stated Julia Weber, head of acquisitions and sales at Global Screen. “With its mix of crime and drama, the excellent acting and a unique, gripping atmosphere, ‘Dark Woods’ is a perfect match for all clients looking for high-end European content. The outstanding ratings in Germany – it was the most-watched program in Ard’s catch-up TV in 2020 – along...
- 10/8/2021
- by Leo Barraclough
- Variety Film + TV
Pictured above: The ‘Das Boot’ crew – Colin Teevan (head writer of season 2), Tom Wlaschiha (actor), Clemens Schick (actor), Oliver Vogel (Bavaria Fiction chief creative officer and Ep on ‘Das Boot’), Vicky Krieps (actor), Rick Okon (actor).
Bavaria Fiction celebrated its latest TV productions at a glitzy soirée at Soho House in Berlin on Monday.
The powerhouse TV division of Bavaria Film has enjoyed huge success with “Das Boot” and its newest series, “Freud,” opened this year’s Berlinale Series sidebar. It’s also rolling out “Arctic Circle,” a Finnish-German coproduction, which recently premiered on Zdf.
Bavaria Fiction focuses largely on the German-speaking market but it’s looking to further expand its portfolio.
“We moved into international productions four years ago with ‘Das Boot,’ a hugely successful series, being sold to over 100 countries, including Hulu in the U.S.,” says Bavaria Fiction managing director Jan S. Kaiser.
“Das Boot” season two premieres on Sky in April.
Bavaria Fiction celebrated its latest TV productions at a glitzy soirée at Soho House in Berlin on Monday.
The powerhouse TV division of Bavaria Film has enjoyed huge success with “Das Boot” and its newest series, “Freud,” opened this year’s Berlinale Series sidebar. It’s also rolling out “Arctic Circle,” a Finnish-German coproduction, which recently premiered on Zdf.
Bavaria Fiction focuses largely on the German-speaking market but it’s looking to further expand its portfolio.
“We moved into international productions four years ago with ‘Das Boot,’ a hugely successful series, being sold to over 100 countries, including Hulu in the U.S.,” says Bavaria Fiction managing director Jan S. Kaiser.
“Das Boot” season two premieres on Sky in April.
- 2/25/2020
- by Ed Meza
- Variety Film + TV
Screened at the Berlin International Film Festival
BERLIN -- In "The Free Will", German director Matthias Glasner challenges himself to make a human monster sympathetic. His success will vary from viewer to viewer. For that matter, most people will not bother to spend nearly three hours with a sexual predator. Even students of abnormal psychology and edge cinema may be put off by the movie's remoteness from its characters and plodding pace.
Clearly, the filmmaker accepts those risks. It is a measure of Glasner's integrity that those who do stick with the film will come away disturbed and saddened but comprehending the awful compulsion that tears at the protagonist from his very insides.
Theo (played by Jurgen Vogel, one of the film's writers and producers) is a shy, sullen and emotionally stunted man who commits a brutal assault and rape in the film's opening minutes. A tiny bit of compassion for his victim -- he goes to retrieve a first-aid kit from his car -- causes him to get caught. More than eight years later, he is released from psychiatric lockup. He was judged mentally disabled and therefore was never criminally prosecuted.
Everyone, including Theo, thinks he can make it in the outside world. However, Sascha (Andre Hennicke), who runs a kind of halfway house in a medium-size German town, tells him to prepare for hell. Through sheer force of will, Theo does everything he can to stave off his demons: He takes martial arts, performs gymnastics, takes saunas, masturbates and watches porn.
He meets Nettie (Sabine Timoteo), the daughter of his boss, who has suffered years of abuse at her father's hand. A wary courtship ensues based, strangely enough, on their mutual dislike of the opposite sex. In one remarkable scene at the martial-arts studio, Theo demonstrates a self-defense technique to Nettie in a session where the combat escalates to the level of anger and frustration.
Before the relationship goes any further, Nettie takes off to study chocolate making in a Belgian coastal town. In her absence, Theo comes close to assaulting another woman but manages to run away.
He then tracks Nettie down, and their relationship begins in earnest. Mutual pain and emotional neediness spur their passion. Soon Nettie is shocked though pleased to hear herself say she loves Theo. The two move in together, but domestic bliss, as the viewer anticipates, doesn't last long. Theo's compulsive urges are never far from the surface.
No characters in the movie can articulate feelings. There are no scenes where these people sit down and explain themselves. All issues are repressed, leaving only uncomfortable silences and hesitation.
Even the most sympathetic viewer may find the last 45 minutes implausible if not intolerable. Theo angrily confesses his terrible secret to Nettie, then even more angrily breaks things off. She turns into a stalker, tracking him down to Berlin, as if she were a crack detective, then shadows him from one city to another for an implausible ending in another seaside town. (The film's sense of geography is at times needlessly puzzling.)
To his credit, Glasner, who wrote the film with Vogel and Judith Angerbauer, allows no sentimentality or soothing platitudes about mental illness obscure a crystal-clear portrait of a monster. Theo is a monster but not a sociopath. His crimes make him sick.
Glasner, who also did the cinematography, goes for a probing, often hand-held shooting style with much of the color drained away, in some scenes even approaching black and white. Lighting is naturalistic, and sets reflect the characters' emotional ups and downs.
"The Free Will" is a demanding, difficult film about a man who grows to hate what he fears: women.
THE FREE WILL
Colonia Media Filmproduktion/Label 131/Schwarzweiss Filmproduktion
Credits:
Director/director of photography: Matthias Glasner
Screenwriters: Matthias Glasner, Judith Angerbauer, Jurgen Vogel
Producers: Frank Dohmann, Matthias Glasner, Christian Granderath, Jurgen Vogel
Production designers: Tom Hornig, Conni Kotte
Costumes: Sabine Keller
Editors: Mona Brauer, Julia Wiedwald
Cast:
Theo: Jurgen Vogel
Nettie: Sabine Timoteo
Sascha: Andre Hennicke
Claus: Manfred Zapatka
Anja: Judith Engel
No MPAA rating
Running time -- 159 minutes...
BERLIN -- In "The Free Will", German director Matthias Glasner challenges himself to make a human monster sympathetic. His success will vary from viewer to viewer. For that matter, most people will not bother to spend nearly three hours with a sexual predator. Even students of abnormal psychology and edge cinema may be put off by the movie's remoteness from its characters and plodding pace.
Clearly, the filmmaker accepts those risks. It is a measure of Glasner's integrity that those who do stick with the film will come away disturbed and saddened but comprehending the awful compulsion that tears at the protagonist from his very insides.
Theo (played by Jurgen Vogel, one of the film's writers and producers) is a shy, sullen and emotionally stunted man who commits a brutal assault and rape in the film's opening minutes. A tiny bit of compassion for his victim -- he goes to retrieve a first-aid kit from his car -- causes him to get caught. More than eight years later, he is released from psychiatric lockup. He was judged mentally disabled and therefore was never criminally prosecuted.
Everyone, including Theo, thinks he can make it in the outside world. However, Sascha (Andre Hennicke), who runs a kind of halfway house in a medium-size German town, tells him to prepare for hell. Through sheer force of will, Theo does everything he can to stave off his demons: He takes martial arts, performs gymnastics, takes saunas, masturbates and watches porn.
He meets Nettie (Sabine Timoteo), the daughter of his boss, who has suffered years of abuse at her father's hand. A wary courtship ensues based, strangely enough, on their mutual dislike of the opposite sex. In one remarkable scene at the martial-arts studio, Theo demonstrates a self-defense technique to Nettie in a session where the combat escalates to the level of anger and frustration.
Before the relationship goes any further, Nettie takes off to study chocolate making in a Belgian coastal town. In her absence, Theo comes close to assaulting another woman but manages to run away.
He then tracks Nettie down, and their relationship begins in earnest. Mutual pain and emotional neediness spur their passion. Soon Nettie is shocked though pleased to hear herself say she loves Theo. The two move in together, but domestic bliss, as the viewer anticipates, doesn't last long. Theo's compulsive urges are never far from the surface.
No characters in the movie can articulate feelings. There are no scenes where these people sit down and explain themselves. All issues are repressed, leaving only uncomfortable silences and hesitation.
Even the most sympathetic viewer may find the last 45 minutes implausible if not intolerable. Theo angrily confesses his terrible secret to Nettie, then even more angrily breaks things off. She turns into a stalker, tracking him down to Berlin, as if she were a crack detective, then shadows him from one city to another for an implausible ending in another seaside town. (The film's sense of geography is at times needlessly puzzling.)
To his credit, Glasner, who wrote the film with Vogel and Judith Angerbauer, allows no sentimentality or soothing platitudes about mental illness obscure a crystal-clear portrait of a monster. Theo is a monster but not a sociopath. His crimes make him sick.
Glasner, who also did the cinematography, goes for a probing, often hand-held shooting style with much of the color drained away, in some scenes even approaching black and white. Lighting is naturalistic, and sets reflect the characters' emotional ups and downs.
"The Free Will" is a demanding, difficult film about a man who grows to hate what he fears: women.
THE FREE WILL
Colonia Media Filmproduktion/Label 131/Schwarzweiss Filmproduktion
Credits:
Director/director of photography: Matthias Glasner
Screenwriters: Matthias Glasner, Judith Angerbauer, Jurgen Vogel
Producers: Frank Dohmann, Matthias Glasner, Christian Granderath, Jurgen Vogel
Production designers: Tom Hornig, Conni Kotte
Costumes: Sabine Keller
Editors: Mona Brauer, Julia Wiedwald
Cast:
Theo: Jurgen Vogel
Nettie: Sabine Timoteo
Sascha: Andre Hennicke
Claus: Manfred Zapatka
Anja: Judith Engel
No MPAA rating
Running time -- 159 minutes...
- 2/13/2006
- The Hollywood Reporter - Movie News
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