Dear film lovers,
The atmosphere on board the EURO-FILMFESTIVAL 2017 in the small town of Harsefeld near the somewhat larger town of Buxtehude in Lower Saxony couldn't have been better.
Numerous articles in this edition of EUROFILMER-digital testify to this. Staying with the metaphor of the amateur film-ship, we found with great relief, that we were not on the "Titanic". The ship was on a safe course with its 51 very impressive films. This was thanks to the authors who submitted their films and more than 60% of them were present. It was also due to the incomparably good professional projection of all the films in a traditional cinema, and to the organisers and the conviviality of the many people present.
The unusually numerous contributions to the review of our festival are a novelty, but perhaps it was to be expected as a reflection of the three successful days in Harsefeld which inspired so many Euroflmers to write.
Another novelty in the 39-year history of these film festivals was the awarding of seven gold medals. A clear proof of the high quality of films taking part!
This powerful event under the direction of Wolfgang Thomas and his expert team demonstrated the vitality of our association. The imminent danger of an aging population could be seen but not felt. We secure the future with the healthiest possible way of life for our association members and our efforts to attract young, film-enthusiasts; this is a "broad area?"! In any case, 2018 is guaranteed! We owe this to our Austrian film friends and their representative Werner Scheffknecht.
In Günter Viereckt’s article we say goodbye to Hansruedi Wiget from Switzerland. For decades, our friend from the alpine country was a creative and innovative co-organiser of the association's internal development and also a successful film maker with many films that will be remembered.
See you again in Bludenz at the latest! But let's just enjoy the gleanings from 2017 and treat ourselves to a quiet and peaceful Christmas!
With warm regards and best wishes for a happy New Year
Hans Rudi Wiget has left the executive board of the German-Swiss Amateurfilm
It is more than 45 years now since I met Hans Rudi for the first time. A colleague of mine invited me to the amateur film club in Zurzach for a "try-out". It was a coincidence that brought me to a film club in the SIFA and not the BSFA organisation. It was also coincidence that brought me together with Hans Rudi and his father Otto.
Within a short time, it became clear that both were founder members of the Zurzach amateur film club and also of the Swiss Association of Film Amateurs, the SIFA, and also did what was necessary to establish this umbrella association. I didn't understand at the time, what it meant to be a member of SIFA or BSFA. I didn't care, either. The important thing for me was, that I was introduced to two filmmakers, whose significance was more than one might have expected. Hans Rudi helped a lot to ease the acceptance of an amateur filmmaker from Germany in a Swiss club.
For health reasons, Hans Rudi and his family moved from Zurzach to Wald in the Zurich Oberland. He was a stranger there. What he built up there in the coming years, despite this less than ideal start, is admirable.
- The founding of a film club in Wald was a matter of course for him. Imagine how, as an experienced filmmaker, he suddenly had to lead a crowd of enthusiasts who were just beginning to film. Hans Rudi did it with constructive criticism of the 8mm clips presented by the members.
Good things were praised, for bad scenes or sequences he always offered a possible suggestion for improvement. All club members benefited from this approach. And so, it is not surprising that today many members of his club are known nationally and internationally as good filmmakers. Hans Rudi himself has also presented excellent films and earned corresponding awards. For example, I would like to remind you of the film "Yellow Gold to the Gate of Hell". He was awarded a gold medal and the EAK's Golden Film Strip for that.
- Even more impressive was his ability to interest the inhabitants of Wald in his film club and the possibilities offered by it. Hans Rudi has dealt with the customs, traditions, history of this place and what is happening in the city today and has made films about these events in and around Wald together with his film club colleagues. The premiers of these films have always been highlights in the cultural life of Wald. Often there were several hundred spectators who attended such a performance. They were thrilled to see themselves on the screen and to be made familiar with the past and present of their home region.
- This skilful dedication to the cultural life of Wald not only gave Rudi access to the people, but also opened the door to the local authority. The SIFA and the EAK profited from this. A Euro-Filmfestival based in Wald was integrated into the cultural week of the town. Rooms were made available for the organisation of such events, sponsors were also on hand if necessary, but the most important thing for many citizens of Wald, was that experts in the amateur film world visited our SIFA and EAK festival events.
- As with many filmmakers who make good films themselves, and pass on their knowledge to club members, Hans Rudi has also been appointed to higher levels of the amateur film scene.
He was twice elected President of SIFA. The first presidential term was relatively short. Disagreements within individual SIFA clubs made it impossible for him to realise his vision of the future of SIFA. Consequently, he resigned.
The second period as SIFA president, from which he had to step down at the end of 2016 for health reasons, was successful. Despite the general tendency of declining membership of all amateur film associations, he managed to bind film clubs from other organisations to SIFA. This development was due to Hans Rudi's leadership style and his handling of amateur film and its authors.
During this period as SIFA President, Hans Rudi successfully represented the interests of the SIFA members within the EAK board. He spent most of his time there in a leading role in developing a new jury system for the fair evaluation of amateur films; the trial phase in this practice has already begun.
Hans Rudi has now departed from the higher management levels of SIFA and EAK. We would like to express our heartfelt thanks to him for what he has done so well there and in club life. It's a good thing that we don’t have to say farewell. As long as his health allows it, he will continue to care for the amateur film world, the authors who belong to it, and the cultural environment of his hometown. He will find satisfaction in this activity.
We wish him "Good luck"!
The Jury Work in Hamburg 2017
From 8th to 11th August 2017, a truly European jury for the EAK Festival 2017 met at Georg Brand's "Gebra cinema" in Hamburg under the direction of Peter Klüver and organised by Wolfgang Thomas and the Friends of Forum Nord.
The jury members were: Werner Scheffknecht from Austria, Hans Finnern from Switzerland, Jon Gisle from Norway as well as Dr. Heinrich Nerowski, Reinhard Drews and Helmi Hansen from Germany. They undertook three strenuous days in the cosy little cinema. The list included 51 films in the categories travel film, documentary, animal film, reportage, fiction film and animated film with more than 10 hours of film altogether. Accordingly, the time for discussion was limited.
The innovation introduced last year to give each author hints about the strengths and weaknesses of his film was again undertaken with great patience by Antje Klüver, who fortunately still remembered her stenographer's skills.
The language barriers within the jury were easily overcome with German and English plus excerpts from Norwegian, Swedish and Italian vocabulary which sometimes provided exhilarating moments of communication.
However, this did not distract from the assessment of the films. The marking was based on the EAK scorecard with its established criteria, which were debated and discussed point by point, even if the working day did not end until after 20.00. Ultimately, the result for each film was an outcome that, despite sometimes differing views, met the goal of being a fair assessment.
The two films "Das Ende der Zukunft" (The End of the Future) by Harald Scholz (Austria) and "Fridgemania" by Emmanuel Dubois (France) were in a remarkably close race for gold medals, with “Fridgemania” rated the best film by only a tenth of a point difference.
On the last jury afternoon, Hamburg veteran, Peter Klüver, acted as guide on a city tour with a visit to the Elbphilharmonie, Speicherstadt, St. Pauli and the city centre. EAK President Uwe Haase also came over to Georg Brand’s home for a pleasant barbecue evening.
Even on the next day, some jurors were still unable to tear themselves away from Hamburg. With the help of Wolfgang Thomas, they visited Miniatur Wunderland and marvelled at the world's largest model railway with its lovingly built structures. A special kind of experience.
At this point we would like to express our sincere thanks to all the organisers, wives, friends and "good spirits" who gave us a jury week with excellent organisation and hospitality, which we remember warmly.
"We don't have to be ashamed of our films."
The festival was opened by EAK President Uwe Haase, who welcomed all authors, visitors and film enthusiasts from near and far. He commended the 51 films from various categories to those present and emphasised that they did not only come from the German-speaking countries, but also through the active support of representatives from France, Luxembourg and the Scandinavian region, as the Eurofilmers intended. He promised that the films lovingly created by the film amateurs with their creativity and artistic ideas would once again entertain the guests.
Peter Klüver made the introductions for the individual films and handled this with mastery and his inimitable humour. Films that couldn't be more different were shown. From funny animations, through dramatic stories, to elaborate reportage, in which the documentaries and reportages predominated in terms of numbers.
For the Saturday afternoon, a bus ride to the artists' village Worpswede with a city tour, a pause for coffee and cake and a carriage ride through a part of the Devil's Moor was organised for those interested. Those who stayed behind were able to enjoy a selection of the best films from 39 years of EAK festival winners, presented by Reinhard Merke from Cologne.
According to Uwe Haase, not only has technology changed in recent decades, but also the way we watch. But despite the most modern recording, editing and post-processing techniques, it takes more than that to create an interesting film. It is still dependent on the skill, creativity and ability of the author to develop his own, sometimes new ideas and often to go in unusual directions.
He quoted ancient wisdom from the Orient: "Patience is the key to paradise", and Catherine of Siena, who said: “The reward is not for starting, but for perseverance". For the amateurs, it was pleasure and joy in filming rather than profit. He concluded with the words: "Friends, we don't need be ashamed of our films".
The festival through the eyes of Norwegian jury member Jon Gisle
It was a very successful Euro Filmfestival at the beginning of October. I can't remember any other festival that was so well attended and had such a high standard of the best films. The only thing Wolfgang Thomas and his competent team couldn't control was the weather. On the day of our arrival, there was a storm in Northern Germany, which could not prevent our landing but had paralyzed public transport. Thanks to Georg Brand, who picked us up at the main station and steered us through the rush hour, we reached our destination on time.
This year I had the honour to be a member of the jury and therefore I had seen all films in a three-day marathon in Georg's private cinema. My impression is that we had a wider range of themes than at previous festivals, with more action-packed films and exciting documentaries and travelogues.
It is impossible to do justice to all the films here, which is why I concentrate on a few.
France has not traditionally been one of the dominant countries at Euro Filmfestivals. This year there was only one French film, but it became the festival winner! The title of the film was "Frigomania", and the author was Emmanuel Dubois. It is an elegant (in my opinion very French) satire about modern consumer culture. During an extremely hot period in France, an old man's refrigerator collapses. It can no longer be repaired, but through a special offer the protagonist can buy a new one at a reasonable price. Things start to develop, and in his modestly small apartment, refrigerators begin to appear until the apartment is crammed full.
I don't want to go into the details, but the whole story is so logical that it could have happened credibly in real life. And finally, this movie had some of the best amateur actors I've ever seen.
Harald Scholz was the winner of the Golden Band last year, and this time he was again very close to it. Scholz does everything himself, both in front of and behind the camera. He plays all the roles in his film and appears more than thirty times at the same time. Don't ask me how he does it; some crazy green screen techniques and a lot of patience... he's also a good actor. This year's film is a harsh critique of modern society, in whose future dictators will not only control people's lives, but also their deaths. Harald Scholz' film is a political, anti-American film; or should we simply say: an anti-Trump film. It is a very entertaining but also very serious movie.
The jury had to decide between the Austrian firecracker Scholz and the elegant Frenchman Dubois. We chose Dubois, but there was very little in it.
A film that made a special impression on me was The Golden Mountain by Urs Schadegg from Switzerland, who travelled a lot as an adventurer in Indonesia. One of his travels took him to a gold mine in Mindanao. The mine is a hell of a place. For some, it's big business; they own the gold mines. For the miners it is hard, dangerous and badly paid work. They are lowered through deep shafts into the tunnels, where they work their way through the gold-bearing soil from morning to night. They dream of the great gold find for which they will get well paid.
The film gives a powerful impression of the situation on site, especially as Schadegg let himself be lowered down to the depths and spent a few hours there in the galleries. This guy's not claustrophobic!
I would like to mention another film that came third in the competition. During the judging in August, Frank Lauter's documentary was the first film on the second day. After the screening we were wide awake for the rest of the day! On the one hand the movie was excellent, but what woke us up was the sound of the very talkative frogs. An excellent film!
This year there were seven gold medallists. One might think that this is too much; five would have done it. But the scoring system gave us seven gold medals (or golden apples) and as a member of the jury I don't regret it.
Three films from my own country, Norway, were at the festival. We don't have that many films since we had our own film forum in Oslo. Norway will be back next year. See you in Bludenz....
Three splendid days in Harsefeld - 51 films from seven countries at the European Circle of Authors Film Festival
In the beginning there was the wish: Wolfgang do it again! And Wolfgang Thomas didn't have to think for long whether yes or no. After the much-vaunted success that he had achieved with the Euro-Filmfestival 2016 in Ahrensburg, he felt so much euphoria that it was easy for him to give in to the pressure and tackle the organisation of the 2017 festival. And then he got started almost without a break.
Since then, the Euro-Filmfestival 2017 is over and thus a year of organisational work is also over for Wolfgang Thomas and the fine team he put together, including Heino Schenck and Peter Klüver as the most dedicated helpers, and Antje Klüver, Ilka Burmeister, Hannelore Thomas, Georg Brand, Bernd Stirnat, Horst Burmeister, Sigmar Klapperstück, Dieter Schlemmermeier and Max Conradt. This team met frequently throughout the year and came up with ideas and the know-how to put together a new festival in Harsefeld in the north of Germany, with energy and determination, which Eurofilmers are likely to talk about for a long time to come. There were three splendid days of festival with 51 films from the seven countries Germany, Switzerland, Austria, Luxembourg, Holland, France and Norway.
At the beginning of the festival on the first of the three days, the President of the European Circle of Authors of Film and Video, Uwe Haase from Lübeck, welcomed the filmmakers, their relatives and guests to the 90-year-old Hotel-Kino Meyer in Flecken, Harsefeld, located about an hour's drive from Hamburg. He thanked Wolfgang Thomas and the organising team for their work in the multifaceted preparations and for the selection of Hotel-Kino Meyer, which he described as the "perfect location". The president also praised the creativity of the filmmakers, their artistic ideas and their diligence, and he thanked the jury, which had met weeks before the festival in Hamburg at Georg Brand's small cinema to judge the 51 films. Representing the mayor of Harsefeld, his deputy Joachim Panke referred to the Old Land, where large quantities of strawberries, cherries, pears and tons of apples are harvested year after year in the wide area around Harsefeld and where an incomparable sea of flowers can be admired in the spring.
And then the weekend kicked off with the 51 films judged by the jury: Hans Finnern from Switzerland, Werner Scheffknecht from Austria, Jon Gisle from Norway and from Germany: Helmi Hansen, Dr. Heinrich Nerowski, Rainer Drews and Peter Klüver as jury leader. The festival winner, and awarded one of the seven gold medals, was Frenchman Emmanuel Dubois with the film "Fridgemania", a bewildering humoresque that tells of the never-ending delivery of huge refrigerators to a cramped apartment. The Audience Award and also a gold medal went to Urs Schadegg from Switzerland for his film "Der goldene Berg" (The Golden Mountain), which caught the audience's breath because they witnessed men - and of course the filmmaker Schadegg as well - crawling on their bellies in search of gold in a wet, unbearably narrow rock tunnel. The remaining five gold medals went to Dieter Prill for "Wo ich wohne" (Where I Live), Paul Aegerter for "Marie", and Frank Lauter for "Im Reich des Laubfrosch" (In the Realm of the Tree Frog) , all three authors from Germany, gold also to the Viennese Harald Scholz for "Das Ende der Zukunft" (The End of the Future), and to the Swiss Willi Grau for "Der Ruf der eisigen Winde" (The Call of the Icy Winds) The fact that seven gold medals, 16 silver medals, 23 bronze medals and five diplomas of commendation were awarded shows that the level of the films, the discovery of ideas and the cinematic implementation of themes have further improved. This can and should be seen as the main achievement and success of this 37th Euro-Filmfestival.
After the screening of the last seven films on Saturday morning, some of the authors and guests went by bus to Worpswede, the artists' village near Bremen, where Paula Modersohn-Becker had lived. There was a guided city tour and after coffee and cake there was also a carriage ride around Worpswede. Meanwhile, those who stayed behind in the nostalgic Meyer cinema watched four outstanding films that had won awards at various previous festivals, namely "Briefe an Mutter"(Letters to Mother) by Filippo Lubiato,"Gelbes Gold zum Tor der Hölle" (Yellow Gold from the Gates of Hell) by Hansruedi Wiget,"Tempelleben" (Temple Life) by Michael Preis and the magnificent, emotionally charged film "Steins Abschied" (Stein’s Farewell) by Otto Horn.
And that's not all. In the evening in every room of the Hotel-Kino the films honoured by the festival were shown. Dainty, very young girls and adult women presented very different dances perfectly. It was astonishing because all the girls and women belonged to different dance groups, based in the relatively small town of Harsefeld. In any case, there was enthusiastic and heartfelt applause for them and Petra Hansen and Christiane Reese, the group leaders. Between the individual dances, Wolfgang Thomas and the director of the European Circle of Authors, Anni Bergauer, presented the awards to the filmmakers. EAK President Uwe Haase concluded by saying: “The international festival in Harsefeld has been a very good one, and with it an exciting and creatively interesting film year is coming to an end, which left nothing to be desired in terms of creativity" He thanked the jury, especially Wolfgang Thomas and the organising team, and last but not least the filmmakers for their imaginative, highly creative films.
The final buffet and the cosy get-together afterwards lasted until after midnight and ended three beautiful, harmoniously staged film festival days. And next year at the end of September? On to Bludenz for the 38th European Circle of Authors' Film Festival.
Max Conradt received a silver award for „Do you know Brahms?“
How was the festival in Harsefeld?
How were the three days at the Euro-Filmfestival of the European Authors' Circle (EAK) in Harsefeld? What did film-makers and guests think of the celebrations? What was good, what left something to be desired? Three filmmakers speak for themselves.
Günter Walz from Karlsruhe particularly praised the enormous variety of film themes. In the 15 years he has been a member of the EAK, he had never before experienced such great diversity. “The cinema in Harsefeld is great, “he said, "a cosy, nostalgic cinema, and the fact that there is also a hotel and restaurant right next to it makes the venue outstanding. What is also outstanding is the technology installed in the cinema, which makes a flawless presentation of the films possible. “I find”, Günter Walz concluded, “the festival in Harsefeld went off at least as well as the one in Ahrensburg last year.”
Suzy Sommer from Luxembourg, who has been a member of the EAK for six years together with her husband, was enthusiastic about the many people and the wonderful atmosphere she experienced during the three days - a pleasant compensation for the tiring eight-hour journey from Luxembourg to Harsefeld. She also praised the Hotel-Kino Meyer, the exceptionally good technology that enabled the films to be shown with the best image and sound. And all this in the charming cinema, especially nicely decorated with its small table lamps. But there is also a small point of criticism, namely the ill-manners of some moviegoers who, while a film is running on the screen, talk to each other and thus disturb the attention of the audience sitting around. There shouldn't be so much thoughtlessness.
Harald Scholz from Vienna has been to BDFA competitions in Harsefeld four times. So he knows his way around and he is enthusiastic about the “likeable Kino Meyer with its excellent screening technique and the nice people you always see here.” This time he notes in particular the many informative films shown at the EAK competition, though mostly of medium quality. “The good organisation in the preparation of the festival, the pleasant combination of cinema, hotel and restaurant are guarantors for the smooth running, which we experienced once more in Harsefeld.” said Harald Scholz in conclusion.
Films of special merit
Saturday 7 October, 51 films were screened at the Euro-Filmfestival 2017. A wonderful experience, interesting and varied. I didn’t miss a single movie. Now everyone can relax. A special event, a trip to Worpswede, an artists' village near Bremen, not far away. However, not everyone wants to go, some people already know the beautiful place or want to go for a walk in the large city park of Harsefeld with its water features. What if it rains? And that was the case – it was quite cold and windy.
As if the organisers of the Euro-Filmfestival had anticipated this, they made sure that it wouldn't get boring that afternoon. They rummaged through the film archive and found four magnificent gold films, each winner of a gold film strip. Someone who didn't go to Worpswede should of course be there to introduce the films. Apart from the filmmakers who stayed in the hotel, the public was also invited. They had printed a large poster for this purpose. The screening was held under the auspices of the Hotel-Kino Meyer, a real cinema with the appropriate ambience and atmosphere as well as a huge screen.
I was the one who was supposed to introduce the four films. It was weird when I was standing up there at the lectern. But I had prepared well and of course I had watched the movies before. I was thrilled and would like to give a short overview for those who couldn't see the films.
"Briefe an Mutter” (Letters to Mother) by the multiple festival winner Filippo Lubiato. 2009 was shot in Ukraine with German subtitles. The picture quality was amazingly good from Mini-DV. But even better was the content. One felt the author's intentions deeply. “I am astonished at how expressive and committed the children were in front of the camera.” Lubiato has a mission to help children and young people to realise their own film ideas. And this happened in "Briefe an Mutter”. It's the story of a boy who loses his mother.
The second film was directed by Hansrüdi Wiget, another Swiss author. It was shot in 4:3. His way of bringing us closer to people is impressive and sometimes oppressive. This was also evident in his film Film „Gelbes Gold zum Tor zur Hölle“ (Yellow Gold to the Gates of Hell). Men who carry heavy sulphur chunks on their shoulders for miles to earn enough to feed themselves and their families, regardless of toxic gases and dangerous work conditions. The situation was not without danger for the film maker either.
Who doesn't know Michael Preis, author of the next film? Travelling to distant countries, his fascination for foreign cultures drives him to many, sometimes remote, regions of the world. What he brings back with him is excellent film material, which is created on the basis of intensive planning and becomes a masterpiece of the travel film genre in his hands. This was the case for his film „Tempel-Leben“ (Temple Life).
In workshops he is always willing to share his skills and experiences with others. Few succeed in achieving such perfection. Festival winner 1994.
The last film that was shown was „Steins Abschied“ (Stein's farewell), shot 20 years ago on chemical film stock by Otto Horn. It was the best film at the Eurofilmer 2000 festival in Lindau. When you see the film, you first think of professional film work. But the participants are amateurs, friends and filmmakers from the Darmstadt Film-und-Videoclub. Otto Horn tried to express how he felt at the end of his own professional life. This issue is always topical and especially difficult if love still has a role to play. Skilful camera work and editing sequences speak their own language, without dialogue driving the film.
At the end after about 2 hours many spectators were still sitting, impressed by the films they had seen, and giving loud applause for the authors. It was also a great experience for those who were watching amateur films for the first time. I had to answer many questions. For me it was a new and nice experience. Many thanks to the organisers of the Euro-Filmfestival 2017, especially to Wolfgang Thomas, for the brilliant idea of showing four older, award-winning films from the archive.
Thursday, October 2nd, 2017. It's 1:30. Check everything again. Heino Schenck and I want to go to Lübeck for an appointment. It’s not a long way, 46 kilometres from Hamburg. But long enough when you forget something. Bluray plugged in and checked once again on my player. Running! What if the player in Lübeck is different?
All right, I'll grab my player, take it with me. Better safe than sorry. Where was the Bluray now? Yes, in the suitcase, let's go. Appointment for the technical set-up with Joachim Bauer from the Lübeck club "ASFA" is at 2:30 pm. No, not in the clubhouse, but at AWO, the Workers' Welfare Association Lübeck. I don't know where that is. The film enthusiasts make a guest appearance there once a month and show films. Great commitment. Next year only twice a year. Too bad for the AWO.
Well, we leave the A1, Joachim had told me head for “Lübeck Mitte”. The sign just says “Centrum”. I guess it's right. Just over the first roundabout and then you’ll see...... I know, such descriptions. You end up standing around somewhere in the area looking for the venue, because you don't have any real information. I think it will be like that and suddenly I'm standing in front of a sign "AWO". Crazy! There’s a parking area right outside the door. Where do you ever see that?
Now we're 20 minutes early and wait in the car. All right, Heino and I always have something to talk about. Then four people from the club are there and setting up. Move tables and chairs, set up the screen, organise the equipment. The EAK president is already there as a club member with his First Lady. Yeah. Heike is good for you! That lady has a warm heart.
The projector is still dead, why? Everything is turned on, but it still doesn't work. Now the indicator lamp lights up. Now it doesn’t. Oh, it's just a shaky contact at the power input. JUST A SHAKY CONTACT ON THE PROJECTOR? I don't believe it! I don't want chaos in my head right now. I must concentrate on a few words to introduce the films to 25 people.
Well, I think Joachim had some concerns … by the last count it was only six. The projector is still running. Thank goodness. Little greeting, cheering up people a little, expectant mood. Works out pretty well. First film: “For a Prize of Salt" by Hansueli Holzer. Easy amazement despite 16:9 on 4:3 screen. Bright above, nothing below. How much can you lower your standards?
Dark room, bright picture with living-room sound. That's it, a local cinema with applause. Then: “The Last Garden" by Hans-Werner Breiter. Wondering how the camera can fly beside the cranes. “A World Cultural Heritage Site with a Hook” from the Hamburg Film Club almost evokes feelings of home.
Now a short break with coffee and our own Lübeck biscuits, followed by the first conversations. Do not touch the projector or even switch it off! I'm getting warm. So then: “The Call Of The Icy Winds" by Willi Grau helps me further. Amazement in the AWO group and smiles "In The Realm Of The Tree Frogs" by Frank Lauter. 90 minutes are almost up and Joachim has doubts whether the audience and the projector can hold out. Of course, they demand the last movie.
"The Golden Mountain" obviously upsets them, Urs Schadegg moves them and makes them speechless. But then there is great interest. It’s the same with us, Heino and me. There it is again, the great satisfaction of having brought joy to a small group with films from Eurofilmer's large stock. Thank you, thank you very much! To the authors and also to the projector!
The Cassandra-warnings of the extinction of the now 40-year-old EAK are contrasted with irrefutable facts. The typical German in his endless variety has one thing in common: he is a man of clubs. If allies wanted to explore the essence of the German, they would certainly find their first club ID cards. There are around 600,000 clubs in Germany, and there are more and more (up 30% in the last 20 years).
The Austrian writer Robert Musil once said: “Clubs promote the aspirations of their members and disrupt those of the others" This may be true for most of them, such as the "Central Association For Natural Sausage Skins”, whose future is threatened by the competition "Artificial Sausage Skin Group”, but not for the EAK.
Its relationship with the brothers of formerly hostile associations has developed in the very best way, because it was recognised that “natural sausage skin” stands in blatant contrast to “artificial sausage skin”, but amateur film always remains amateur film, and this commonality promotes an unbreakable bond. Let's take a look at these points and consider the fact that there have been clubs for centuries (the only reason the EAK is not that old is because it failed to invent cinema sooner) then we can worry about our descendants. If the growth rate of club members increases as described above, the future citizen will already be born as a club-member - and why shouldn't this also include the new generation of EAK members?