Films by Ulla Lehmann

Myanmar, Germany 2022, 89 min
by Hnin Ei Hlaing

Two midwives, one Buddhist and one Muslim, defy strict ethnic divisions to work side by side in a makeshift clinic in western Myanmar, providing medical services to the Rohingya of Rakhine State. Over five years we witness their struggles, hopes and dreams amidst an environment of ever-increasing chaos and violence.Hla and Nyo Nyo live in a country torn by conflict. Hla is a Buddhist and the owner of a makeshift medical clinic in western Myanmar, where the Rohingya (a Muslim minority community) are persecuted and denied basic rights. Nyo Nyo is a Muslim and an apprentice midwife who acts as an assistant and translator at the clinic. Her family has lived in the area for generations, yet they are still considered intruders. Encouraged and challengedby Hla, who risks her own safety daily by helping Muslim patients, Nyo Nyo is determined to become a steady health care provider for her community. Snow Hnin Ei Hlaing’s remarkable feature debut was filmed over five turbulent years in a country that haslong been exoticized and misunderstood. The filmmaker’s gentle, impartial gaze grants unique access to these courageous women who unite to bring forth life. Filled with love, empathy, and hope, Midwives offers a rare insight into the complex reality of Myanmar and its people.

Germany 2019, 95 min
by Stefan Sick

Dementia, a diagnosis that changes everything for those who are affected and for their relatives. Accepting the disease can seem just as difficult as finding an appropriate approach. But perhaps it is much more about compassion than about understanding? In an observational way, THE INNER LIGHT explores the everyday lives of people with dementia and focuses mainly on positive situations and encounters. The film tries to offer a poetic interpretation of this special state of being and aims at reducing fears in dealing with people with dementia and at accepting each person’s humanity.www.theinnerlight-film.com

Germany 2018, 52 min
by Niko Apel

Muslims don't do anything against the progressing radicalisation oftheir faith brothers? - They do.Ron W. from Berlin and Mustapha L. from Frankfurt/Main have taken up thefight for so long: Day for day they face the radicalisation process inschools and mosques.(Internationale Hofer Filmtage)

Germany 2018, 65 min
by Rebekka Kaufmann

In WE OWN THE CRISIS Rebekka Kaufmann accompanies a family from Athens in their everyday lives - as lone fighters and united as a family. But the only place they come together is now threatened with foreclosure: their apartment. The film reflects sensitively and personally the current situation of many citizens of Greece and gives an insight into the consequences of the Greek crisis.

Germany 2016, 75 min
by Eva Knopf

Until recently Myanmar was shut off from the rest of the world by a military dictatorship. Ever since a democratisation process started, the country opend up, not only politically but also economically. Investors and multinational companies view Myanmar today as the 'last frontier' of globalization: 53 million new customers may be waiting to avail themselves of their products!But how do the Burmese navigate between the new offers and opportunities and their traditional values? MYANMARKET accompanies people in a time of change: A team of consumer researchers maps Yangon, Myanmar’s biggest city, according to household income. A motivational trainer effordlessly combines american feasibility opitmism with buddhist doctrines. A mother is overwhelmed by the demands of family and society and is looking for a traditional escape from her everyday life. Her daughter is attracted by the shiny commodities and is looking for her true needs.Original Burmese version with English subtitles or German overvoice available.

Germany 2015, 93 min
by Andrea Roggon

Helge Schneider is one of the most extraordinary German artists: Jazz musician, entertainer, film director, actor and clown. His exceptional talent is his improvisational skill. This is where he shows his bubbling creativity. “I make the everyday grey colorful,” is what he says about himself. In his world, the fantastic coexists with the everyday and it is difficult to define the boundaries between reality and fiction. Even in his communication with his audiences, this element of disguise is used, humorously conveying his attitude toward the world. But how does Helge Schneider react to a filmmaker who approaches him to make a portrait about him when he doesn’t like for people to know too much about him?