COIN FILM GmbH

Germany 2019, 96 min
by Dominik Wessely

When Mario Adorf enters a room, one senses his presence, his vitality, his charisma and his elegance. The grand master of movie, born in 1930, is still rated as being one of the most popular actors in Germany.“ES HÄTTE SCHLIMMER KOMMEN KÖNNEN - MARIO ADORF” portrays the film star Mario Adorf and his passion for acting, the stage, the cinema, singing and writing. Together with the director Dominik Wessely, the film comes closer to Mario Adorf as a person and highlights important stations of his private life and his international career. When Mario Adorf begins to talk about his life, over 60 years of theatre and film history come to life. A dialogue with him is not only a retrospective, but also an intensive exchange of ideas about film and theatre and his view of the world, love and aging, (source: nord-media)Locations: Cologne, Mayen, Paris, Rom, St. Tropez, Cannes, Marokko, Munich, Mainz, HannoverWith: Mario Adorf, Senta Berger, Margarethe von Trotta a.o.

Germany, France 2017, 88 min
by Ayse Toprak

Mr. Gay Syria follows two gay Syrian refugees who are trying to rebuild their lives. Husein is a barber in Istanbul living a double life between his conservative family and his gay identity. Mahmoud is the founder of Syria’s LGBTI movement and is a refugee in Berlin. What brings them together is a dream: to participate in an international beauty contest as an escape from their trapped lives and an answer to their invisibility. Will the dream come true or will the refugee crisis and the harsh consequences of being gay in the Muslim world shatter it to pieces?

Germany 2016, 92 min
by Andreas Maus

Wednesday afternoon was deliberately chosen. There were a lot of customers in front of and in the brothers Özcan and Hasan Yildirim’s barbershop on 9 June 2004, when 700 three-inch carpenters’ nails turned into projectiles with a 250 metre range. 22 people were injured. The attack was infamous; the course of the investigations was equally scandalous: the victims were suspected. CCTV material was not analysed and Federal Minister of the Interior Otto Schily decisively ruled out a right wing background. It was only in 2001 that this crime was solved in the course of the revelations concerning the right wing extremist terrorist “National Socialist Underground” group. The trial continues until the present day.Ten years after the Cologne nail bomb attack, director Andreas Maus focuses on giving a voice to those whom nobody wanted to hear for a long time. He deploys narrative strategies to establish a distance in order to expose how systematically matters were hushed up, suppressed and denied. Documentary and re-enacted material are interwoven, actors perform next to affected persons, spaces are reconstructed. Maus overwrites the hackneyed televised images with his own visual inventions. The camera stops, the look at the audience freezes. One is tempted to ask what exactly is supposed to come after the 'culture of welcome'? (DOKLeipzig, Cornelia Klauß)

Germany 2009
by Hans-Erich Viet

What is going on in Germany? Is Germany realy a pain in the neck? And if so, why? In this documentary road-movie shot between 2005 and 2008, director Hans-Erich Viet travels through Germany to find out just how the German soul ticks. The journey took place without any concrete planed destinations, but rather was determined through the events that took place and offers answers to all the moaning and groaning going on in Germany today.

Germany 2021, 119 min
by Christoph Boekel

My father’s diaries and the letters he wrote to my mother guide me to the places in Belgium, France, Tunisia, Germany, Croatia and Bosnia-Herzegovina where my father served as a Wehrmacht officer, between 1942 and 1945. My images of those original sites today meld into a vivid, personal inside view of the War and its mental and emotional destructiveness. In 2017, my brothers and I discuss for the first time the profound effects this war had on our family and our personal lives.

Germany, Switzerland 2014, 163 min
by Samir

Four million Iraqis are part of a worldwide diaspora today, and in Iraqi Odyssey the viewer has an insider’s chance to meet some of them. Fans of the award-winning Forget Baghdad, the prophetic documentary that Swiss-based Samir directed in 2002 just before the US invasion toppled the dictator and the Ba’athist regime, will appreciate the insight he brings to this personally tinged story of his own family. Delicately and perceptively, he sheds light on how recent Iraqi history has affected the middle class, resulting not just in a brain drain of talented professionals, but a diaspora of dramatic proportions. In a penetrating film journey, Samir obsessively probes his own family history as it is interwoven with political events. His crisscrossing, globetrotting network of aunts, uncles and cousins - lawyers, teachers, doctors and even a nuclear physicist – are scattered from Moscow to Paris, New York to New Zealand. Along with the chance to get acquainted with three courageous generations who have never shied away from involvement in political life, the film introduces an intellectual, unconventional, open-minded and freethinking family who have all been influenced by Samir’s grandfather, the ’patriarch,’ and his liberal attitude towards women, religion, communism, the army, the arts and more. It’s the kind of extended family one is happy to spend time with on a swift-moving trip through Middle Eastern politics.

Germany 2013, 80 min
by Janina Jung

“How cold the wind blows in our beautiful Westerwald”, the locals like to sing with tears in their eyes. But feeling at home in Germany can be a thorny issue, because this also is the song the Wehrmacht soldiers sang as they marched east. Perhaps that's why it's almost considered improper to make a film (apart from satires) about provincial Germany and its – usually considered backward – idea of home. In this respect, Janina Jung shows courage when she returns to her home village – she won a Golden Dove for this once before – without letting her views be clouded by emotional closeness or intellectual distance. One senses a familiarity, though, for apart from impressions of the village over the course of a year, the film was shot exclusively at the kitchen table. You don't invite strangers there, and you talk frankly. Jung interviewed various villagers – old and young, long-time residents and recent new arrivals, Germans and migrants – about the same themes: the village community and how it is changing, nature and landscape, money and job, love and marriage, language, tradition, and faith. An intelligent montage turns this into a polyphonic snapshot of the atmosphere in provincial Germany in 2013. Full of funny as well as bitter moments, which combine with the theme of strangeness that runs through the film to remind us how problematic it is: home. (DOKleipzig, Grit Lemke)