Dietrich Brüggemann

Dietrich Brüggemann – Drei Zimmer/Küche/Bad (2012)

Eleven moving dates, eight friends: Philipp, Wiebke, Jessica, Maria, Swantje, Michael, Thomas, Dina – all in their twenties and mutually lonesome. And always searching: For a new city, a new job, an own apartment, a new, or even an old love. The search is never-ending, and so they repeatedly find themselves at a ritual gathering: someone moving. Boxes are shifted from one side of Berlin to the other, or the length and breadth of Germany, from one abode to the next as one life is exchanged for another. In 3 ZIMMER/KÜCHE/BAD, director Dietrich Brüggemann portrays existences in which relationships, social networks and backdrops are in a constant state of flux; where best friends are the only, and therefore the most valuable constant. Humorous sketches of the self-conception of a generation for whom moving has become the symbol of a life on the go. Read More »

Dietrich Brüggemann – Heil (2015)

The African-German writer Sebastian Klein is one of the most famous Author of Germany. To promote his latest book, he is on reading-tour through Germany and also visits the little city of Prittwitz. But there, the local Neo-Nazis give him a hit on his head and Sebastian looses his memories. Instead he is parroting everything other people tell him. Sven, the political leader of a modern National Socialist Party, recognizing the opportunity and uses Sebastian as a promotion speaker against integration. When Sebastians highly pregnant girlfriend Nina is seeing him on TV, she is shocked and starts to chase him with the policeman Sascha in order to safe him from the Neo Nazis. Read More »

Dietrich Brüggemann – Kreuzweg AKA Stations of the Cross (2014)

Quote:
Winner of the Student Critics Jury Award at this year’s Edinburgh Film Festival, German director Dietrich Brüggemann’s Stations of the Cross (Kreuzweg, 2014) takes on as its burden the wry dissection of hardline Catholicism in fourteen supremely crafted long takes. Dividing each of his film’s chapters according to the traditionally depicted stages of Christ’s condemnation to death, his Crucifixion and his subsequent burial in anticipation of the Resurrection, Brüggemann offers up a darkly comic, contemporary reworking of Catholic doctrine that never shirks away from illuminating both the ridiculous and the sublime (although the former outnumbers the latter). Read More »