Within the framework of a carte-blanche cooperation with the film department of The Museum of Modern Art in New York, German Films will present 11 feature films shot by German women cinematographers from 1-12 March 2019. The personal selection was made by German Films’ managing director Mariette Rissenbeek to honor the creative work of Sonja Rom, Daniela Knapp, Bella Halben, Leah Striker, Sophie Maintigneux, Ulrike Ottinger, Jakobine Motz and Judith Kaufmann, who will all travel to New York to present their work. The series will open with THE POLL DIARIES by Chris Kraus, and follow with 13 MINUTES by Oliver Hirschbiegel, ADAM & EVELYN by Andreas Goldstein, EMMA’S BLISS by Sven Taddicken, ENDZEIT – EVER AFTER by Carolina Hellsgård, EXIT MARRAKECH by Caroline Link, IF NOT US, WHO by Andres Veiel, THE CHAMBERMAID LYNN by Ingo Haeb, THE EDUKATORS by Hans Weingartner, THIS IS LOVE by Matthias Glasner, and UNDER SNOW by Ulrike Ottinger.

Rajendra Roy (Chief Curator Film Department MoMA) on this very special series: “In 2020, Mariette Rissenbeek will become the first woman to lead the Berlin Film Festival (as Executive Director, with newly appointed Artistic Director Carlo Chatrian), as well as the first to lead one of the top three European festivals (including Cannes and Venice). This is a milestone that took sixty-nine years to achieve, and it is cause for overdue celebration. Known to lovers of German cinema through her leadership of the film promotion agency German Films, she began her career in production. MoMA is pleased to offer this opportunity for New York cinephiles to get to know this ground-breaking figure and applaud her staunch support for women throughout the industry. Here, she selects 11 films all shot by German women cinematographers. Rissenbeek states: “It was very exciting but at the same time quite challenging when MoMA offered me a carte-blanche to present a number of recent German films. For me personally, the female view on society and its topics has always played a crucial role. From its very beginnings, cinema tells its stories in pictures and they are the center of cinematographic art. So it seemed not only natural, but rather mandatory to work with exactly that point of view: pictures made by women, women behind the camera.”