Archiv der Kategorie: 2016

Montageforum am 5. 2. 2016

10:00 – 16:00 Uhr Kino 2115

Filmuniversität Babelsberg Konrad Wolf




Susan Korda grew up in New York City and Vienna, Austria, where she attended medical school before returning to New York to study filmmaking at CCNY.  She worked as an editor for over 20 years, and attributes the editing room for her creative and spiritual advancement.

With David Leitner, Korda directed and produced the award-winning documentary “Vienna is Different,” and from her 2-year Fulbright fellowship in Berlin, she produced the awarded personal documentary “One of Us.” This year Korda completed her short, narrative film, “Salomea’s Nose.”

Korda edited the Oscar™ nominated documentary “For All Mankind” and was editor and creative collaborator on Sandi Du Bowski’s ground-breaking “Trembling Before G-d.”

She was a producer on Emily & Sarah Kunstler’s “William Kunstler: Disturbing the Universe,” and story consultant on Alan Berliner’s “The Sweetest Sound” and “First Cousin Once Removed.”

Susan Korda taught at NYU and Columbia University and conducts editing and story-telling workshops in the U.S., Europe, Israel and South Africa. She travels extensively with a master class lecture on editing called Kill Your Darlings and is returning guest at Berlinale Talents.

Es werden zwei Arbeiten von Susan Korda als Editorin und als Story Consultant gezeigt.


Regie/ Al Reinert, Montage/Susan Korda

„In July 1969, the space race ended when Apollo 11 fulfilled President Kennedy’s challenge of “landing a man on the Moon and returning him safely to the Earth.” No one who witnessed the lunar landing will ever forget it. Al Reinert’s documentary For All Mankind is the story of the twenty-four men who traveled to the moon, told in their words, in their voices, using the images of their experiences. Forty years after the first moon landing, it remains the most radical, visually dazzling work of cinema yet made about this earthshaking event.


Regie und Montage/ Alan Berliner, Story Consultant/Susan Korda

Alan Berliner’s uncanny ability to combine experimental cinema, artistic purpose, and popular appeal in compelling film essays has made him one of America’s most acclaimed independent filmmakers. The New York Times has described Berliner’s work as „powerful, compelling and bittersweet… full of juicy conflict and contradiction, innovative in their cinematic technique, unpredictable in their structures… Alan Berliner illustrates the power of fine art to transform life.“

In The Sweetest Sound, Alan Berliner is tired of being mistaken for people who might share his name and decides to rid himself of the dreaded Same Name Syndrome.

How do you convey the power, magic and mystery of names? The way they confer identity? How they function as compressed histories — a set of codes that tell us where we come from, who we are, who we were, or sometimes even who we might want to be? The only way I could figure out how to do it was to fully examine one name very closely. My own.“ A.B.


Montageforum am Mittwoch 06.01.16


Mittwoch 06.01.16

17:00 Uhr Kino 1101

Filmuniversität Babelsberg Konrad Wolf

Zu Gast //

Gesa Marten


Regie/ Kiki Allgeier, Montage/ Gesa Marten

In the fashion world, Isabelle Caro was known as the face of shocking campaign ‘NO-Anorexia’. But what is the story behind the woman whose emaciated body adorned Oliviera Toscani’s billboards? Looking above and beyond her illness, this documentary turns back the clock on Isabelle’s troubled life and reveals the true desires and ambitions of a young woman struggling to overcome her childhood trauma and enter the adult world.

„I was mesmerised… the image looked so free.“ On the screen, a figure skater moves gracefully across the ice, in perfect sync with live violin music. The tape is one of several VHS recordings of TV programmes left behind by Isabelle. Her own dream was to be an actress, however the parts she was offered tended to be determined by her condition: frail, usually sickly women. Terminal cancer patients. What would be her ideal role? „A strong woman, one who fights“, she says.

From a young age, Isabelle was strongly drawn to inventing characters. „I started talking to my reflection in the mirror, as if it was another little girl“, she writes in her childhood diary. She gives the girl a name: Rebecca. Rebecca is prettier than her and is free to do as what she wants. Isabelle was at this time effectively imprisoned in her home. Her stiflingly protective mother never wanted her little girl to grow up.

When fashion came by chance into Isabelle’s life, it appeared to offer her a future on her own terms. But in this world, the model has no control over their own image. „They insisted on seeing bones“, she says. She penned an autobiography attempting to tell her side of the story. For the first time, the truth about her childhood came out, along with a revelation: was singer Danyel Gerard, for whom she wrote a song, her real father?

The film is a meditation on a troubled life that came to a tragic end. It shows the human side of a woman who came into the public eye because of her illness, and shows that there is much, much more to Isabelle.


Gesa Marten

Studium der Theater-, Film- und Fernsehwissenschaft, Germanistik und Philosophie in München und Köln.

Freiberuflich als Editorin und Dramaturgin tätig seit 1991.

Ihre Montagearbeit wird mehrfach nominiert oder ausgezeichnet (Deutscher Fernsehpreis, Deutscher Kamerapreis, Film+ Schnittpreis).

Vertretungsprofessorin im Studiengang Montage an der Filmuniversität Babelsberg.

Mitglied der Deutschen und der Europäischen Filmakademie sowie im Verband für Film- und Fernsehdramaturgie und im Bundesverband Filmschnitt Editor. Gründungsmitglied von LaDOC Dokumentarfilm-Frauen-Netzwerk.

Recent Films:

2011 Wo stehst du? R: Bettina Braun

2012 Süßes Gift. R: Peter Heller

2013 Vom Ordnen der Dinge. R: Jürgen Brügger und Jörg Haassengier

2014 Die letzten Gigolos. R: Stephan Bergmann.

2015 Shooting in the Dark R: Frank Amann