Films Accessible to Non-German Visitors

Alice, a researcher at a laboratory specializing in ornamental plant breeding, develops a new species: a deep red flower that, with careful tending, is said to bring good luck to its owners. Shortly before it receives official approval, she takes a specimen home for her son Joe without permission. As the flower flourishes, people and animals in its vicinity begin to change in mysterious ways. Alice begins to wonder whether this is just her imagination or an actual effect of her creation.

The film had its world premiere in the main competition of the 2019 Cannes Film Festival, with Emily Beecham receiving the „Best Actress“ award. It won three Austrian Film Awards 2020, including „Best Editing“ for Karina Ressler.

Editor: Karina Ressler. Director: Jessica Hausner. Screenplay: Jessica Hausner, Géraldine Bajard. Cinematography: Martin Gschlacht. Music: Teiji Ito, Markus Binder. Sound: Malcolm Cromie. Production: coop99 Filmproduktion, The Bureau, Essential Film Production. Cast: Emily Beecham, Ben Whishaw, Kerry Fox, Kit Connor, David Wilmot, Phénix Brossard.

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Karina Ressler is one of the most influential film editors in European auteur cinema. For more than three decades, through her collaborations with directors such as Jessica Hausner, Götz Spielmann, Barbara Albert, Sabine Derflinger, David Schalko, and Patric Chiha, she has created films that do not guide audiences through dramaturgical certainties but rather open up spaces for their own perceptions. Her works have premiered at major international film festivals and have won numerous awards. Karina Ressler has received the Austrian Film Award for Best Editing three times. As a professor of film editing at the University of Television and Film Munich, she also inspired a new generation of editors.

A defining constant in her body of work is her long-standing collaboration with Jessica Hausner. Since Hotel, the two have been developing a cinematic language that deliberately subverts expectations and continually challenges familiar narrative patterns. Recent works such as Little Joe and Club Zero demonstrate how the narrative power of these films consistently stems from the creative dialogue between direction and editing.

For Ressler, editing means uncovering what is already present in the footage. Through the careful comparison of glances, pauses, and movements, new connections emerge. Meanings are not invented, but discovered. The editing room becomes a space for collaborative exploration. Ressler’s editing is less concerned with unambiguous messages than with ambivalence, nuances, and open-ended questions. She gives characters room to unfold, allows time where others would speed things up, and trusts the audience to make their own connections. Her films explore emotional and narrative complexity and have a lasting impact that extends far beyond the moment of viewing.

Karina Ressler is a member of the Austrian Editing Association (aea). She is also a member of the European and Austrian film academies.

As part of the hommage to Ressler, Edimotion will screen Little Joe (2019, Jessica Hausner) on Friday the 16th Ocotber at 20:00, and Revanche (2008, Götz Spielmann) on Monday the 19th Ocotber at 11:00.

Filmography (Selection)

2004 Hotel. Cinema Fiction. Jessica Hausner.
2006 Falling (Fallen). Cinema Fiction. Barbara Albert.
2006 Sleeper (Schläfer). Cinema Fiction. Benjamin Heisenberg.
2008 Revanche. Cinema Fiction. Götz Spielmann.
2009 Lourdes. Cinema Fiction. Jessica Hausner.
2012 Crossing Boundaries (Grenzgänger). Cinema Fiction. Florian Flicker.
2012 Oh Yeah, She Performs!. Documentary. Mirjam Unger.
2016 Hidden Reserves (Stille Reserven). Cinema Fiction. Valentin Hitz.
2017 Animals (Tiere). Cinema Fiction. Greg Zglinski.
2019 Little Joe. Cinema Fiction. Jessica Hausner.
2021 Fox in a Hole (Fuchs im Bau). Cinema Fiction. Arman T. Riahi.
2023 Club Zero. Cinema Fiction. Jessica Hausner.
2024 Kafka. TV Mini Series. David Schalko.
2025 Happyland. Cinema Fiction. Evi Romen.

Neuropsychiatrist Johann Spittler has long worked with people who wish to end their lives on their own terms. They seek him out because severe physical or mental illnesses, chronic pain, or the loss of independence drive their desire to die. Working on behalf of the German Society for Humane Death, he assesses their situation: He talks with them about their life stories, their illnesses, and their motivations, and must determine whether they are making the decision of their own free will and with a clear mind. He does not always agree to provide assistance, but he often issues the medical report that makes assisted suicide possible and accompanies the individuals involved until their death. In doing so, he navigates a legally and emotionally complex situation that poses challenges not only for clients and their loved ones but also for those around him.

The film premiered at the Locarno Film Festival 2025 in the „Semaine de la Critique“ section, and won the Diagonale Award 2026 as „Best Documentary“.

Original title: „Grünes Licht“. Editor: Anna Kirst. Director, Cinematography: Pavel Cuzuioc. Sound: Pavel Cuzuioc, Atanas Tcholakov, Martin Loecker. Production: Pavel Cuzuioc Filmproduktion.

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At the foot of the Rocky Mountains, Crowley grows up in a family whose daily life revolves around horses, rodeos, and ranch work. Over a period of ten years, the film follows his journey from an 11-year-old boy to a young adult: Since early childhood, he has pursued his dream of becoming a cowboy and one day owning his own ranch. While life-altering family events fundamentally change his life, Crowley tries to hold on to the ideals of masculine strength, discipline, and independence that were instilled in him. But conflicts within the family, financial uncertainty, and a great loss force him to make decisions that shape his understanding of responsibility and his future. Ultimately, he takes a chance on a new beginning and tries to find his own place between tradition, expectations, and the desire for self-determination.

The film premiered at the Locarno Film Festival 2025 in the „Semaine de la Critique“ section.

Editor: Vincent Assmann. Director: André Hörmann. Cinematography: Tom Bergmann. Music: Roger Goula. Sound: Nikola Chapelle, Oussama Abdouh, Alex Rubin. Production: Telekult Film- und Medienproduktion, Mitten Media.

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Note: Only accessible for French (or German) speaking visitors!

Young Emma is lucky. She lives with the village pastor’s family and is learning to read and write from the pastor. She has just won the Virtue Award, which will enable her to pursue an education in the city. This apparent good fortune comes to an abrupt end when she is raped by a family friend. In the confines of the Protestant village, this means shame, guilt, and social ostracism. But Emma refuses to let the constraints of the community dictate her fate. She leaves her arranged marriage and her new family and moves to the city to build a self-determined future there with her child. While war rages at the border, she fights against shame and the expectations of others to forge her own path to freedom.

The film premiered at the Venice Film Festival 2025 in the „Venice Spotlight“ section. It was nominated for seven Swiss Film Awards 2026, winning two – including „Best Editing“ for Karine Sudan.

International title: „Silent Rebellion“. Editor: Karine Sudan. Director: Marie-Elsa Sgualdo. Screenplay: Nadine Lamari, Marie-Elsa Sgualdo. Cinematography: Benoit Dervaux. Music: Nicolas Rabaeus. Ton: Xavier Lavorel, Henry Sims, Franco Piscopo. Production: Box Productions (CHE), Helicotronc (BEL), Offshore (FRA). Cast: Lila Gueneau, Grégoire Colin, Thomas Doret, Aurélia Petit.

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Sixteen-year-old Johanne (Ella Øverbye) develops an infatuation for her female French teacher Johanna (Selome Emnetu). To cope with her intense crush, she writes down her emotions and experiences. A year later, the text has grown to 95 pages. When her mother (Ane Dahl Torp) and grandmother (Anne Marit Jacobsen) read it, they are initially shocked by its intimate content but soon recognize its literary potential. As they debate whether to publish it, Johanne navigates the gap between her romantic fantasy and reality, and all three women confront their differing views on love, sexuality, and self-discovery.

Winner of the „Golden Bear“ at the Berlinale 2025. Was also nominated for seven Amanda Awards, with Jens Christian Fodstad winning for „Best Editing“.

Original title: „Drømmer“. Editor: Jens Christian Fodstad. Director & Writer: Dag Johan Haugerud. Director of Photography: Cecilie Semec. Composer: Anna Berg. Sound: Yvonne Stenberg, Gisle Tveito. Production: Motlys. Cast: Ella Øverbye, Selome Emnetu, Ane Dahl Torp, Anne Marit Jacobsen.

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Amid the turmoil of the Thirty Years' War, a mysterious soldier appears in a remote Protestant village. He is taciturn, slender, and his face is disfigured by a scar. The stranger claims to be the heir to a long-abandoned estate and is able to produce a document confirming his claim—much to the dismay of the village community. Nevertheless, the stranger does everything in his power to find happiness here. His quest for recognition and acceptance, however, is complicated by his secret: the soldier has made his way into the village under a false identity, a false name, and by pretending to be of the wrong gender. Yet, to achieve his goals, he will not even shy away from the impossibility of an arranged marriage with the daughter of a large-scale farmer. For anyone who has come this far soon believes that anything is possible.

The film premiered in the main competition at the Berlinale 2026, with Sandra Hüller winning the Silver Bear as „Best Actress“.

Editor: Hansjörg Weißbrich. Director, Screenplay: Markus Schleinzer. Cinematography: Gerald Kerkletz. Music: Tara Nome Doyle. Sound: Uve Haußig, Nora Czamler, Manuel Grandpierre. Production: Schubert Film (AUT), ROW Pictures (DEU), Walker & Worm Film (DEU). Cast: Sandra Hüller, Caro Braun, Marisa Growaldt, Godehard Giese.

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Five boys live together in a group home because, for various reasons, they cannot live with their parents. It’s a temporary home – in some cases, for years. The caregivers Antje, Max, and Sören work in shifts to support them through their daily lives, from school problems and arguments to birthdays and vacations. At the same time, the boys’ biological families remain a part of their lives. Visits are arranged, and the possibility of a return home is on the minds of both children and adults – yet it repeatedly proves to be uncertain. In addition to parents and caregivers, child welfare agencies and other institutions also play a role in determining their future. Between shared meals, celebrations, and bedtime stories, discussions about support plans, reports, and bureaucratic decisions are therefore also part of daily life. While the adults struggle to find viable solutions, the boys are growing up. The group home offers them a shared center in their lives – though it’s unclear for how long.

The film premiered at the DOK Leipzig Film Festival 2024, winning the German section. It also won the German Documentary Award 2025, and was nominated for a German Film Award 2026.

Original title: „Im Prinzip Familie“. Editor: Jana Dugnus. Director: Daniel Abma. Cinematography: Johannes Praus. Music: Henning Fuchs. Sound: Alexandra Praet, Roman Pogorzelski, Christoph Walter. Production: Bandenfilm.

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In the year 2093, filmmaker Kuve travels to Umata to document the aftermath of a war that has brought ancient kingdoms back to life. There, he meets Mumbi, who urges him to shoot his film without using AI. As he searches for his own voice, Kuve discovers, even in a broken world, the beauty of small moments that we often overlook.

The film premiered at the Lorcano Film Festival 2025 in the „Panorama Suisse“ section. It won the Critics' Jury Award at the Zurich Film Festival 2025, and the Swiss Film Award „Prix spécial de l'Académie“ for its innovative use of technology.

Editor: Damien Hauser. Director, Screenplay, Cinematography, Music: Damien Hauser. Sound: Nikola Medic, Yvan Bruner, Ediz Kiracar, Flo Steinbach. Production: Hauserfilm (CHE), Out Of My Mind Films (CHE). Cast: Shandra Apondi, Ibrahim Joseph, Samson Waithaka, Michael Grama, Damien Hauser, Newton Ronnoh.

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Over a century of history and stories from a farm in the Altmark (Saxony-Anhalt): Four generations of women grow up here, searching for their place in life. Their fates seem to be strangely intertwined. In the 1910s, ten-year-old Alma witnesses an act of violence she cannot fathom. In the 1940s, Erika explores her awakening sexuality as the horrors of war draw nearer. In the GDR of the 1980s, Angelika appears to be full of life on the outside, but inwardly suffers from doubts and morbid thoughts. And in the present day, Nelly and her family have taken over the farm—which had since fallen into disuse—and are renovating it.

The film premiered in competition at the 2025 Cannes Film Festival, where it won the Jury Prize. It swept the German Film Awards 2026, winning every of the 10 categories it was nominated for, including the Best Editing Award for Evelyn Rack.

Original title: „In die Sonne schauen“. Editor: Evelyn Rack. Director: Mascha Schilinski. Screenplay: Mascha Schilinski, Louise Peter. Cinematography: Fabian Gamper. Music: Michael Fiedler, Eike Hosenfeld. Sound: Claudio Demel, Billie Mind, Sebastian Heyser, Jürgen Schulz, Kai Tebbel. Production: Studio Zentral (DE), ZDF / Das kleine Fernsehspiel (DE). Cast: Lena Urzendowsky, Susanne Wuest, Luise Heyer, Luzia Oppermann, Claudia Geisler-Bading, Greta Krämer, Laeni Geiseler, Hanna Heckt.

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A filmmaker on a quest for clues: Laura Coppens interviews her grandfather about his past and his life after the fall of the Berlin Wall. As a child, he lived through the Nazi era and World War II, during which his older brother was killed on the Eastern Front. After 1945, he chose to help build the GDR and remained loyal to the socialist state until its end. In an intimate conversation with his granddaughter, he recalls his political convictions, career turning points, and life in a country that ceased to exist in 1989. Letters, documents, and earlier statements supplement his memories and bring contradictions to light – including the family’s silence, which must also be addressed. As Günther’s memory increasingly fades, his granddaughter tries to make sense of his experiences and decisions under changing political systems and questions how this has shaped the family across several generations.

The film premiered at the DOK Leipzig Film Festival 2025, winning an award. It also won the „Berner Filmpreis“ 2026.

Original title: „Sedimente“. Editor: Kathrin Schmid, Laura Coppens. Director: Laura Coppens. Cinematography: Pierre Reischer, Laura Coppens. Music: Azadeh Zandieh. Sound: Laura Coppens, Azadeh Zandieh. Production: Srikandi Films.

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Alex teams up with Tamara, a prostitute, to plan their escape from their old lives. A bank robbery is supposed to make a fresh start possible, but it ends in disaster when Tamara is shot and killed by police officer Robert. Alex retreats to his grandfather’s remote farm, where he encounters Robert and his wife Susanne – neither of whom has any idea of the past that already connects them.

The film premiered in the Panorama section of the Berlinale 2008, winning three awards. It was nominated for an Oscar 2009 as Best International Feature Film.

Editor: Karina Ressler. Director, Screenplay: Götz Spielmann. Cinematography: Martin Gschlacht. Sound: Heinz Ebner. Production: Prisma Film, Spielmannfilm. Cast: Johannes Krisch, Irina Potapenko, Andreas Lust, Ursula Strauss, Hannes Thanheiser, Hanno Pöschl.

Tickets (TEMPO members and/or IFEF participants pay the reduced fee of 8 €)