Quiet tones, at the time of our roar sometimes go down. Fans of quiet, dialogue-packed and content-oriented TV formats can sing a sad song about this: the louder, more impactful and more shallow the TV, the easier it is to reach the masses. When famed Digitto chief Thomas Schreiber rose to the microphone in a function hall with a view of the Elbe named Hamburger Bucht, unrest continued in the audience.
Even his subdued comparisons of tides, tumbling river and gushing sea, and a bit of maritime romance in a pop-culture setting are still overwhelmed by the buzz of Digitto’s campus, as ARD submitted its entries in competition at a Hamburg film festival like last year. But then they wake up, creators, editors, producers and reporters, as their host calmly gets to the heart of the matter.
Haven City, where Europe’s largest new development area is being built on the ruins of eras past, is a metaphor for media transformation. Because his former radio station is in danger of falling apart due to nepotism, cartels, and political influence, people are paying attention for a moment. However, Schreiber, until 2021, means only the offer from his new employer in Frankfurt.
The change must continue, he wants to say and show well after 15 years of “kitsch” claims to “sweetener” “what we do best: movies”. Not only to demand this, but to prove it, he traveled from Maine to the Elbe with Editor-in-Chief Christoph Belander, successively asking Film Festival President Albert Weederspiel to put film directors on the podium, but otherwise let them talk about what he was responsible for since May 2021 instead of Kristen Strobles: Fantasy entertainment that could rival streaming services.
Can she do that
If diversity is an indicator, yes! Digito brought six contest entries from the TV media alma mater to a campus not far from the global cultural repositories district. Six works that would never have reached the level of his predecessors – especially fan club heads Christian Neubauer, Hans Wolfgang Jorgan and Jörn Klamroth – after the turn of the millennium. Six series, movies, mini-series deserve attention.
“Martha Lieberman,” for example, with the indestructible Thekla Carola Wedd in her last role as the aging widow of Impressionism, who must choose between concentration camp and art with subtle intensity. Classic Drama Digito material in reality. But when director Stefan Boehling tells of the Czech set filled with swastikas and Jewish stars, how the reawakening of Right-wing activities compares to their escalation 80 years ago and speaks more softly than the writer, it becomes clear: Digitto still manages to. Do kitsch and sweeteners, but no more than self-referential, self-loving, forgotten.
So first you have to struggle through the emotionally charged “Miracle of Cape Town” with the all-purpose weapon of history, Sonia Gerhardt as a beautiful doctor in the shadow of South African cardiac surgeon pioneer Barnard (Alexander Scheer), who recreates the misogyny and racism of the 1960s in the backgrounds of Sugar Ice. . But at the latest when director Franziska Buch spoke in a video about her mother, who was not allowed to get a driver’s license without her father’s permission, it became clear in Hamburg: The new generation of Digitto filmmakers are more interested in ratings. It’s about sustainability, liberation, diversity and diversity – preferably all in one and preferably with a sense of humour.
But two films, the first showing on Friday evenings at all times, represented a dead field of feudal goodness for years. In “Einfach Nina,” eight-year-old Niklas (Ariane Wegener) no longer wants to be a boy and confronts his mother (Frederic Becht), but also faces his father with decisions that director Karin Heberlin negotiates with a good conscience. its own scenario. And in “Save the Climate for Beginners,” F4F activist Lily gives her parents (Tanja Wedhorn/Götz Schubert) an ultimatum: protect the environment or drop out of school.
According to the trailer, this is as funny as it is urgent, but it only gains weight through Suada for young actress Ella Lee: “Climate disaster is coming,” criticizing vegetarian snacks in front of the audience, “It’s our right and our duty to be angry.” The rage conveyed by the six-part “37 seconds” in a totally humorless way. The aging rock star’s sexual encounter with his half-year-old co-star continues for 37 seconds, as the audience is supposed to decide for themselves whether it’s consensual or rape.
“We wanted to make it as difficult as possible for viewers,” writer Julia Benner explains, outlining the challenge of viewers’ “moral compass,” adds fellow screenwriter David Sandrotter. Both also apply to the two-part series “Ein Stepp zum Abgrund” without the #MeToo factor, which translates the BBC series “Doctor Foster” on the topic of infidelity, which was copied around the world and directed by Alexander Dierbach, for Erste in early 2023. In the same way, they are both related to what is known as the “workshop” on the Digitto campus: the six-part cultural comedy “Lamia,” the five-part prison movie “Asbest” or the second season of Jean-Georges Schott’s improvisation. “Kranets”.
Everything is produced for digital target groups more than for linear target groups, and so it’s at least as cool as “Asbest” director Kida Ramadan, who first mixes a Degeto tip on the podium with a gold chain of ghetto slang and then comes out with two babos to smoke, as if Haven City was in Neukölln. A converted Schreiber TV doesn’t have to be quiet at all. Oh, in fact almost everything is allowed anyway. He even made Heino Ferch the commissioner of the German-Norwegian crime series “Die Saat” or, like Gabriela Sperl, make his way through the RAF again with “Herrhausen”. The main thing is diversity – in terms of content, aesthetics and personnel. It will always be better than it was before.