German Film Awards: Michael Haneke Nazis-in-the-Making Drama Tops Nominations

The White Ribbon Michael Haneke
The White Ribbon.

The White Ribbon, Michael Haneke's depiction of rural Germany on the eve of World War I – and how the cute (if dangerous) little children of that era grew into the Nazis and their followers of the 1930s and 1940s – received 13 nominations for the Lolas, the German version of the Academy Awards.

In the Lolas' top categories, the 2010 Best Foreign Language Film Oscar nominee (which lost to the Argentinean drama The Secret in Their Eyes) is up for Best Picture, Best Director, Best Screenplay (also Haneke), Best Actor (Burghart Klaussner) and Best Actress (Susanne Lothar).

Additionally, cinematographer Christian Berger is up for a Lola as well. Several weeks ago, Berger became the first cinematographer to win an American Society of Cinematographers Award for a film not in the English language. At the Oscars, he lost out to Mauro Fiore for the less arty but much showier (and infinitely more popular) Avatar.

Palme d'Or and European Film Award winner The White Ribbon was the favorite at the Oscars and is the favorite at the Lolas. Don't expect another upset.

Other Best Picture Lola nominees are Feo Aladag's When We Leave, which earned a total of six Lola nominations, including Best Actress for Sibel Kekilli, the star of Fatih Akin's 2004 Lola winner Head-On.

In When We Leave, Kekilli plays a willful Turkish woman who flees Istanbul for Germany, where she finds herself at odds with her traditional Muslim family. (The latter plot point parallels Kekilli's real-life experience after German tabloids revealed the actress had appeared in adult films prior to Head-On).

Also, Hans-Christian Schmid's Yugoslav war crimes drama Storm, starring Anamaria Marinca (of 4 Months 3 Weeks and 2 Days) as a witness and Kerry Fox as a Hague's Tribunal prosecutor, and Maren Ade's drama Everyone Else, starring Lars Eidinger and Best Actress nominee Birgit Minichmayr as a married couple who, while on vacation, become a little too attached to another couple.

Plus Fatih Akin's ensemble comedy , an ensemble piece featuring Moritz Bleibtreu and Birol Ünel, and the winner of the Special Jury Prize at the 2009 Venice Film Festival.

And finally, Sherry Hormann's Desert Flower, a biopic of Somalian-born supermodel turned anti-female-circumcision activist Waris Dirie, played by Liya Kebede. Desert Flower won the Audience Award for Best European Film at the 2009 San Sebastian Film Festival.

The German Film Award winners will be announced on April 23 in Berlin.

The 2010 German Academy Award winners will be announced on April 23 in Berlin.

Best film
Everyone Else, dir. Maren Ade
When We Leave, dir. Feo Aladag
Soul Kitchen dir. Fatih Akin
Storm dir. Hans-Christian Schmid
The White Ribbon dir. Michael Haneke
Desert Flower dir. Sherry Hormann

Best documentary
The Woman with the 5 Elephants dir. Vadim Jendreyko
The Heart of Jenin dir. Marcus Vetter, Leon Geller

Best children's film
Lippel's Dream dir. Lars Buchel
The Suburban Crocodiles dir. Christian Ditter

Best director
Maren Ade for Everyone Else
Feo Aladag for When We Leave
Michael Haneke for The White Ribbon
Hans-Christian Schmid for Storm

Best actress
Corinna Harfouch for This Is Love
Sibel Kekilli for When We Leave
Susanne Lothar for The White Ribbon
Birgit Minichmayr for Everyone Else

Best actor
Fabian Hinrichs for Schwerkraft
Henry Hubchen for Whiskey With Vodka
Burghart Klaussner for The White Ribbon
Devid Striesow for So Glucklich war ich noch nie

Best supporting actress
Maria-Victoria Dragus in The White Ribbon
Hannah Herzsprung in Vision
Jordis Triebel in Pope Joan
Nadja Uhl in Men in the City

Best supporting actor
Rainer Bock in The White Ribbon
Justus von Dohnanyi in Men in the City
Ulrich Noethen in Henry of Navarre
Settar Tanriogen in When We Leave

Best screenplay
Feo Aladag for When We Leave
Michael Haneke for The White Ribbon
Wolfgang Kohlhasse for Whiskey With Vodka
Bernd Lange, Hans-Christian Schmid for Storm

Best cinematography
Christian Berger for The White Ribbon
Hagen Bogdanski for Hilde
Jana Marsik for Lippel's Dream
Reinhold Vorschneider for The Robber

Best editing
Andrew Bird for Soul Kitchen
Andrea Mertens for When we Leave
Andreas Radtke for The Door
Hansjorg Weissbrich for Storm
Monika Willi for The White Ribbon

Best film music
Ali N. Askin for Salami Aleikum
The Notwist for Storm
Fabian Romer for The Door
Ralf Wengenmayr for Vicky the Viking

Best set design
Thomas Freudenthal for Hilde
Christoph Kanter for The White Ribbon
Bernd Lepel for Pope Joan
Matthias Musse for Vicky the Viking

Best costume design
Lucie Bates for Hilde
Moidele Bickel for The White Ribbon
Esther Walz for Pope Joan
Ursula Welter for Vision

Best sound design
Michael Kranz, Ben Rosenkind for Vicky the Viking
Jorg Krieger, Richard Borowski, Kai Storck for The Door
Guillaume Sciama, Jean-Pierre Laforce for The White Ribbon
Roland Winke, Stefan Busch, Michael Kranz for Pope Joan

Best make-up
Wolfgang Boge, Heiko Schmidt for Hilde
Georg Korpas for Vicky the Viking
Waldemar Pokromski, Anette Keiser for The White Ribbon
Gerhard Zeiss for Henry of Navarre

Radical Islam Movie Tops Tiburon Film Festival Awards

Atil Inac's Turkish drama A Step into the Darkness topped the Tiburon International Film Festival's Golden Reel Awards, announced on March 26 in the Northern California town of Tiburon.

Initially set in Northern Iraq, A Step into the Darkness follows a young Turkmen woman (Suzan Genç), the only survivor of an American raid that left all her fellow villagers dead, as she attempts to reach her ailing brother in Turkey. Once in Istanbul, instead of finding her sibling, the young woman becomes enmeshed with a radical Islamic group.

Tiburon's Best Director was Ryszard Bugajski for the post-World War II Polish drama General Nil, which also earned Olgierd Lukaszewicz the Best Actor trophy for his performance in the title role.

The Best Actress winner was Leonor Manso for the Argentinean drama Luisa, about a lonely woman who is forced by circumstances to open up to the world.

The Tiburon Film Festival was held March 18–26.

Best Film: A Step into the Darkness by Atil Inac [Turkey]

Best Director: Ryszard Bugajski for General Nil [Poland]

Best Actor: Olgierd Lukaszewicz for General Nil [Poland]

Best Actress: Leonor Manso for Luisa [Argentina]

Best Documentary: Petition by Zhao Liang [China]

Best Cinematography: The Red Baron by Klaus Merkel [Czech Republic]

Humanitarian Award: Under Rich Earth by Malcolm Rogge [Ecuador/US]

Best Musical: Hipsters by Valery Todorovsky [Russia]

Best Short: Ana's Playground by Eric D. Howell [US]

Best Music Video: “City of Noise” by Mitch Barany [Canada]

Best Dance Short Film: Waterfront Access? by Floanne Ankah [US]

Best Animation: The Magistical by Rebecca Jones [US]

Best Short Animation: The Offering by Michael Zachary Huber [US] & Solitude by Mehrdad Sheikhan [Iran]

Best Sport Film: Bicycle Dreams by Stephen Auerbach [US]

Federico Fellini Award: Elchin Musaoglu for The 40th Door [Azerbaijan]

Orson Welles Award: Craig Johnson for True Adolescents [US]

Best Experimental Film: Next Floor by Denis Villeneuve [Canada]

Best Student Film: Diploma by Yaelle Kayam [Israel]

Best Comedy: The Wish Tree by Liina Paakspuu [Estonia]

Best Children's Film: Tahaan by Santosh Sivan [India]

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3 Comments to German Film Awards: Michael Haneke Nazis-in-the-Making Drama Tops Nominations

  1. Ger

    Thanks Finn, I got your point, but I still think that whenever a country goes to war is not because of the results of a repressive family educational system but a bigger and more powerful, speculative structure called Federal Government. In Latin America (where I'm from) there are many extreme conservative patriarchal societies, not to mention Asia or Middle East countries but their conflicts are not even close to WWI, WWII or Nazism.

  2. Finn

    To my way of thinking, it's less the children's misbehavior that is being called into question than the pedagogical system that breeds such repression and self-loathing. Not to mention the patriarchal society itself which is so overbearing yet rotten at the very core. Thus are the children's psyches so twisted that they are fodder for the political stylings of Nazism.

  3. Ger

    I think this movie has great cinematography but honestly I didn´t understand the relationship between some misbehaving children with the WWI and the nazis, children misbehave and fight with each other everywhere, even in pacifist countries.