German broadcasters Zdf and ZDFneo are partnering with Berlin-based Pyjama Pictures to develop a high-end series about notorious scam artist Ruja Ignatova, also known as the Cryptoqueen and the most wanted woman on the planet.
Tentatively titled “Take the Money and Run,” the six-part series will tell the story of Ignatova, who shot to fame in 2014 with the launch of OneCoin, which she described as a cryptocurrency for the masses that promised enormous profits.
The Bulgarian-German Ignatova hyped the cryptocurrency at huge rallies and attracted millions buyers around the globe who invested billions of euros in OneCoin, believing claims that it would become the world’s biggest digital currency. Flush with cash, Ignatova threw lavish champagne parties and acquired luxury properties around the world. It was all a giant fraud, however.
Ignatova suddenly disappeared without a trace in 2017 after defrauding investors of an estimated $15 billion in what was described as...
Tentatively titled “Take the Money and Run,” the six-part series will tell the story of Ignatova, who shot to fame in 2014 with the launch of OneCoin, which she described as a cryptocurrency for the masses that promised enormous profits.
The Bulgarian-German Ignatova hyped the cryptocurrency at huge rallies and attracted millions buyers around the globe who invested billions of euros in OneCoin, believing claims that it would become the world’s biggest digital currency. Flush with cash, Ignatova threw lavish champagne parties and acquired luxury properties around the world. It was all a giant fraud, however.
Ignatova suddenly disappeared without a trace in 2017 after defrauding investors of an estimated $15 billion in what was described as...
- 4/25/2023
- by Ed Meza
- Variety Film + TV
Filming for the fourth season of the Sky Original series “Das Boot” wrapped in Malta last week, and the first look images have been released. NBCUniversal Global Distribution is handling international sales of the series, which is produced by Bavaria Fiction, on behalf of Sky Studios.
In Season 4, which is coming to Sky’s premium channel Sky Atlantic and streaming service Now next year, the brutal submarine war in the Mediterranean Sea comes to a head, while intrigues and secrets spread through Berlin. Resistance to the Nazis grows within the Kriegsmarine’s own ranks.
Rick Okon as Klaus Hoffmann, Sascha Gersak as Rahn, Jakub Horak as Bischof
After a shared tragedy, the siblings Klaus (Rick Okon) and Hannie Hoffmann (Rosalie Thomass) find their way back to each other. Both fight for their cause. Klaus has returned to the German Reich from Portugal. As a submarine commander he travels to Naples...
In Season 4, which is coming to Sky’s premium channel Sky Atlantic and streaming service Now next year, the brutal submarine war in the Mediterranean Sea comes to a head, while intrigues and secrets spread through Berlin. Resistance to the Nazis grows within the Kriegsmarine’s own ranks.
Rick Okon as Klaus Hoffmann, Sascha Gersak as Rahn, Jakub Horak as Bischof
After a shared tragedy, the siblings Klaus (Rick Okon) and Hannie Hoffmann (Rosalie Thomass) find their way back to each other. Both fight for their cause. Klaus has returned to the German Reich from Portugal. As a submarine commander he travels to Naples...
- 9/22/2022
- by Leo Barraclough
- Variety Film + TV
As production gets underway for the third season of ‘Das Boot’ Sky have released a number of first-look images and the latest additions to the cast.
The 10-part third season follows the tense struggles of a young U-boat crew as they engage in the Battle of the Atlantic whilst being hunted down by an obsessed Royal Navy Commander in a thrilling game of cat-and-mouse. They are sent on a dangerous mission to the Southern Hemisphere under the command of Robert Ehrenberg (Franz Dinda) who finds redemption and the family bonds he thought he’d lost forever.
Scene 135 – Kiel Docks
Ehrenberg enters the U-boat
Scene 669A Refugee Hideout – Lisbon
Forster encounters Levi and Rachel who invite him to eat
Meanwhile, in the climes of neutral Lisbon, where exiles, spies and criminals rub shoulders with allies and enemies alike, Hagen Forster (Tom Wlaschiha) discovers a lethal plot to steal a fortune in plundered wartime gold.
The 10-part third season follows the tense struggles of a young U-boat crew as they engage in the Battle of the Atlantic whilst being hunted down by an obsessed Royal Navy Commander in a thrilling game of cat-and-mouse. They are sent on a dangerous mission to the Southern Hemisphere under the command of Robert Ehrenberg (Franz Dinda) who finds redemption and the family bonds he thought he’d lost forever.
Scene 135 – Kiel Docks
Ehrenberg enters the U-boat
Scene 669A Refugee Hideout – Lisbon
Forster encounters Levi and Rachel who invite him to eat
Meanwhile, in the climes of neutral Lisbon, where exiles, spies and criminals rub shoulders with allies and enemies alike, Hagen Forster (Tom Wlaschiha) discovers a lethal plot to steal a fortune in plundered wartime gold.
- 12/3/2020
- by Zehra Phelan
- HeyUGuys.co.uk
Netflix movies may still be question mark in terms of being allowed in competition at the 2019 Cannes Film Festival in May, but the streaming giant will be present at Cannes Series. The Cannes television festival will mark its second year next month with Netflix going up against rival Amazon in the competition section. The full lineup includes series from Israel, Norway, Spain, and Belgium.
Netflix’s competition entry is the German series “How to Sell Drugs Online Fast,” from writers Philipp Käßbohrer and Matthias Murmann. Amazon is heading to Cannes Series with “The Feed,” a London-set drama created by Channing Powell and based on the novel Nick Clark Windo. “The Feed” stars “Game of Thrones” favorite Michelle Fairley opposite David Thewlis in a story about a piece of technology that allows people to instantly share thoughts and emotions. The tech falls into the wrong hands and becomes a murderous weapon.
Netflix’s competition entry is the German series “How to Sell Drugs Online Fast,” from writers Philipp Käßbohrer and Matthias Murmann. Amazon is heading to Cannes Series with “The Feed,” a London-set drama created by Channing Powell and based on the novel Nick Clark Windo. “The Feed” stars “Game of Thrones” favorite Michelle Fairley opposite David Thewlis in a story about a piece of technology that allows people to instantly share thoughts and emotions. The tech falls into the wrong hands and becomes a murderous weapon.
- 3/13/2019
- by Zack Sharf
- Indiewire
Cannes Series has revealed the lineup, jury and masterclasses for its second edition, which takes place alongside the Mip TV market on the French Riviera.
Among ten series in competition at the TV festival are Netflix’s German show How To Sell Drugs Online and Amazon’s UK series The Feed with Michelle Fairley and David Thewlis. Out of competition shows include Starz’ Now Apocalypse and Russel T Davies’ Years And Years. Scroll down for the lineup in full.
The competition jury will be presided over by Dark show-runner Baran bo Odar with members comprising actor, director and author Stephen Fry (Gosford Park), actors Miriam Leone (Non Uccidere) and Emma Mackey (Sex Education), actor and director Katheryn Winnick (Vikings) and composer Rob (The Bureau). David Cross and Jude Law are among those with projects in the short form competition.
Among those set to give masterclasses will be Game Of Thrones...
Among ten series in competition at the TV festival are Netflix’s German show How To Sell Drugs Online and Amazon’s UK series The Feed with Michelle Fairley and David Thewlis. Out of competition shows include Starz’ Now Apocalypse and Russel T Davies’ Years And Years. Scroll down for the lineup in full.
The competition jury will be presided over by Dark show-runner Baran bo Odar with members comprising actor, director and author Stephen Fry (Gosford Park), actors Miriam Leone (Non Uccidere) and Emma Mackey (Sex Education), actor and director Katheryn Winnick (Vikings) and composer Rob (The Bureau). David Cross and Jude Law are among those with projects in the short form competition.
Among those set to give masterclasses will be Game Of Thrones...
- 3/13/2019
- by Andreas Wiseman
- Deadline Film + TV
Eight new drama series projects among co-pro line-up.
Source: X-Filme
Babylon Berlin
For the fourth time, the Berlinale Co-Production Market will invite producers, commissioning editors, distributors, and other drama series financiers to the Zoo Palast for the pitch event CoPro Series, mounted as part of the Drama Series Days 2018 (February 19 – 21).
Scroll down for line-up
In previous years, CoPro Series has hosted drama series projects looking for partners that have since become successful series, such as Babylon Berlin created by Tom Tykwer, Achim von Borries, and Henk Handloegten, as well as Das Verschwinden (The Disappearance) by Hans-Christian Schmid, or Norway’s Valkyrien by Erik Richter Strand.
This year, eight new series projects have the chance to find co-production and financing partners. The creators will present a short pitch, followed by an opportunity to meet both at an informal get-together and in one-on-one meetings with interested partners to talk in concrete terms about a possible collaboration.
Two German projects...
Source: X-Filme
Babylon Berlin
For the fourth time, the Berlinale Co-Production Market will invite producers, commissioning editors, distributors, and other drama series financiers to the Zoo Palast for the pitch event CoPro Series, mounted as part of the Drama Series Days 2018 (February 19 – 21).
Scroll down for line-up
In previous years, CoPro Series has hosted drama series projects looking for partners that have since become successful series, such as Babylon Berlin created by Tom Tykwer, Achim von Borries, and Henk Handloegten, as well as Das Verschwinden (The Disappearance) by Hans-Christian Schmid, or Norway’s Valkyrien by Erik Richter Strand.
This year, eight new series projects have the chance to find co-production and financing partners. The creators will present a short pitch, followed by an opportunity to meet both at an informal get-together and in one-on-one meetings with interested partners to talk in concrete terms about a possible collaboration.
Two German projects...
- 1/19/2018
- by Andreas Wiseman
- ScreenDaily
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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