#Peter Trabner

[olgalenski]

Anjas Frankfurt Rewatch - Falscher Hase

finde es übrigens maximalst kacke, dass es letztens wiederholt wurde aber nicht in der mediathek ist

immerhin gibt es dieses ardplus ding aber grrrrrr

ich liebs dass der guido wachs hier am start is. also peter trabner aber der wird für mich leider nie wieder jemand anders sein

mag die erste szene sehr

ja hupsi

nebel is schön ^-^

random unterhaltung über marie kondo kein ding

aber es ging grad schon um sein haus, oder? wenn sie sagt "deswegen muss man ja nich gleich sein ganzes haus abfackeln lassen" liebs sehr

aber sie hat auch nich ganz verstanden was er gesagt hat ne. du sollst nur wegwerfen, was dir keine freude bringt.

"im krankenhaus ist noch nie jemand am Stromausfall gestorben:" ich weiß wies ausgeht aber es wäre maximalst lustig, wenn das jetzt passiert

ach hi die kenn ich die war doch in rostock

finde ja wenn die heizung auf der wache nicht funktioniert müssten die woanders untergebracht werden

also lustig is es und ich liebe die dicken jacken und so aber so rein arbeitsrechtlich wirkt das nich so gut

oooh ein ölradiator. guter jonas

lol annas blick als der hajo pauls hand greift xDD

doof

ey dieser sahni war auch in es grünt

alter die haben gezeigt wie der finger abgehackt wird like ohne dass die kamera iwie wegschwenkt???? holy shit

versicherung lieben wir. wie kann sie nur vergessen dass vor 12 (!) Jahren mal ne kabeltrommel gestohlen wurde

okay hi johanna wokalek

läuft bei biggi

warum is der tisch von anna und paul eig auf der anderen seite vom gang in dem raum? das stört mich

okay wahrscheinlich wegen der reparatur da aber trotzdem boooh

anna komplett überfordert als der neue chef sie umarmt

fühl ich sehr

paul findets lustig

ich auch

welchen brief hat sie ihr gard gegeben? weil der von dem jürgen kanns nich sein, den hat sie der witwe wieder mitgegeben

sieht aber so aus, wie der

dieses hochzeitsvideo is schon sehr süß iwie

[nalle]

Nemesis → outtakes

[popcornworthy]

[ Love Me! / Liebe mich! (2014) ]      ;   ★★★★✩ ;

; ENTRY 3/100 ; first watch ;  1-2018 ;

; | SUMMARY | ; Sarah is loud, non-conform, rude, honest and provocative. She seems invincible, but she is lonely and lost. Struggling with her daily life. ;

; | GENRE | ;  Comedy, Drama ;

; | DIRECTOR | ; Philipp Eichholtz ;

; | STARRED BY | ; Lilli Meinhardt, Christian Ehrich, Peter Trabner ;

[deepredradio]

Tatort – Das Nest Story: Bei einem gefährlichen Einsatz wird die Dresdner Kommissarin Karin Gorniak schwer verletzt. Der gesuchte Mörder kann entkommen und Karins neue Kollegin Leonie Winkler muss den Fall übernehmen.

[doisennes]

LOVE ME! (LIEBE MICH!)

Intensa, impulsiva e autoconfiante, uma jovem nutre em segredo o desejo de ser amada, mas não consegue se controlar para não forçar a barra em seus relacionamentos.

2.1

[filmtexts]

Improv Stage As Crime Scene – Axel Ranisch Does Tatort

November 1, 2016

While “quality” and “innovation” seem to be the attributes that US and British TV producers like to define their work as, in Germany “tradition” and “ritual” (as in private, pub and public viewing every Sunday evening at 8:15) are the watchwords – and they probably explain the appeal of weekly (with seasonal hiatuses) detective show “Tatort” (crime scene).

First broadcast in 1970 and gearing up for its 1000th episode on November 13, 2016, “Tatort” takes the federalist public broadcasting system in Germany and turns it into a unique feature of the series. Each state broadcaster has one or two crime-fighting teams that solve cases grounded in the regions they’re based in. That means lots of location shooting and detectives with regional accents and (stereotypical) traits like earthy, tough but tender “Ruhrpötter” Horst Schimanski, operating in Duisburg in the Western German coal-mining Rhein-Ruhr metro area. The hard-drinking, hard-loving and quick-tempered Schimanski, a 1980s departure from the heretofore straitlaced “Tatort” cops, was no less credible as played by the late acting legend Götz George, a native and life-long Berliner. Schimanski was also the first true superstar “Tatort” detective. In the pre-Schimanski era, how many people remember who was on the case in “Reifezeugnis” (1977), which put director Wolfgang Petersen on the map? (Kommissar Finke, played by Klaus Schwarzkopf, investigated.) However, almost everybody remembers the other beneficiary of that episode’s success, then 15 year-old Nastassja Kinski, who played a precocious femme fatale. Even if “Tatort” never had the most intricate plots, it serves as a map and social barometer (issues from child abuse to xenophobia are regularly explored) of the past 45+ years of West and reunited Germany.

To its credit, “Tatort” has tried to flex its dramatic and stylistic muscles, with varying degrees of success. 2014’s Frankfurt set “In Schmerz geboren” (Born in Pain), directed by Florian Schwarz and featuring Ulrich Tukur as Detective Felix Murot and Ulrich Matthes as his best friend turned nemesis Richard Harloff, achieved stratospheric acclaim. But do the show’s makers seriously expect a medal for heavy-handed Shakespeare references and vapid Tarantino knock-offs? Then there have been interesting variations within the detectives‘ characters. Some, like Jan Josef Liefers‘ Professor Boerne, take more than a page or two from the playbook of eccentric yet loveable forensic medicine geniuses in US series from “CSI” to “Bones”, but the comically vain Boerne is great fun to watch in tandem with schlubby yet can-do sidekick Frank Thiel (Axel Prahl as perfect foil). Others like the romantically involved Lessing and Kira Dorn don’t give the otherwise talented Christian Ulmen and Nora Tschirner, who can handle both the comic roles that established their careers as well as more serious fare, much to work with. Now, “Tatort”, the epitome of genre routine, has opened itself up to the free-wheeling improvisational process of director-actor Axel Ranisch.

Ranisch has become one of Germany’s most acclaimed new talents. His body of work includes “Heavy Girls”, famously produced for 517 euros, with support from his grandmother (lovely as one the three leads) and a founding text of the “German Mumblecore” wave of low budget, character-driven films; camp coming out and of age stories (“I Feel Disco”); fairy tales with a twist (“Reuber”) and the surreal addiction psychodrama “Alky Alky”. Ranisch studied under queer cinema icon Rosa von Praunheim at the Media University Konrad Wolf in Potsdam-Babelsberg and has cultivated an improvisational technique and reperatory company (did somebody say Cassavetes or Fassbinder?) centring around Schillertheater alumnus Heiko Pinkowski and acting newcomer Peter Trabner. Pinkowski and Trabner have since become German Mumblecore posterboys, and Trabner worked as improv coach (in ten cast workshops stretched over the course of a year) on the Ranisch “Tatort” episode, intriguingly and onomatopoetically titled “Babbeldasch”.

“Babbeldasch” is Palatine dialect for “blabbermouth” and the name of a (fictitious) dialect theater (shot in the Hemshofschachtel theater) in the southwestern German city of Ludwigshafen. This Rhineland town is the turf of detectives Mario Kopper (Andreas Hoppe), Johanna Stern (Lisa Bitter) and Lena Odenthal (Ulrike Folkerts). Lena Odenthal’s first case was in 1989, as only the third ever female “Tatort” detective. Now after 17 seasons she’s the series‘ senior crimefighter. The Odenthal character, as Folkerts portrays her, has been hailed as a fresh, self-confident, resourceful and well-rounded female role model (while Folkerts was one of the first “out” German female stars). In “Babbeldasch” Folkerts, her fellow “Tatort” cast members and non-professional actors seemingly revel in Ranisch taking them out of their comfort zones: working without a script, shooting in sequence and not knowing the story’s resolution beforehand.

This episode’s mystery involves the death of Sophie Fetter (played by Hemshofschachtel director Marie-Luise Mott), the impresario and diva of “Babbeldasch”. Odenthal and her colleague Peter Becker coincidentally witness the tragic incident while in the audience. What is first diagnosed as a lethal allergic reaction to poppyseed in a chocolate croissant might actually be more sinister. Sophie certainly was involved in enough potentially perilous personal and professional intrigue: a volatile love triangle, disgruntled ensemble members, estranged daughter (Petra Mott, Marie-Luise’s real-life daughter) and a greedy landlord eager to get his hands on the property for which Sophie had a lifelong lease. Odenthal should be off duty to compensate overtime, but Sophie keeps appearing to her in dreams, admonishing her to find the killer. So the next thing we know, Odenthal is undercover, acting a part (of dramatically inclined social worker) amongst the actors. The recurring dream sequences are just one of several well-placed running gags, which also include the improvised care of Johanna Stern’s toddlers and a flu-like bug.

As a “Tatort” episode set in the world of theater and artifice would have it, there’s no shortage of meta moments and fourth-walling. Johanna Stern refers to “Murder On The Orient Express” when she says everyone had a motive and maybe everybody did it all together. Lisa Bitter as Stern then hits the ball out of the park in a hilarious montage sequence of her interrogation of the entire “Babbeldasch” ensemble, keeping her face and the stories straight while wearing an absurd white protective suit. Odenthal also seems to be ever so subtly winking to the audience on some occasions.

At a Q&A after a preview coinciding with the opening of the “1000 Tatorte” exhibition at the Film Museum in Berlin, Folkerts commented that Odenthal is enjoying her life in “Babbeldasch” more than she has been in previous films, and that she hopes that this will continue. Bitter tempered her reportedly negative remarks about the improv process by saying at first the exercises brought back awkward memories of acting school, but then she got into it. Regular “Tatort” viewers also noted Odenthal’s flash new riverside digs, which apparently will be featured in future episodes. (Odenthal’s cat, largely absent in “Babbeldasch”, will return, Folkerts assured the audience.) Most importantly, one hopes that Ranisch’s spirit will sustainably impact “Tatort”’s aesthetic growth – maybe without year-long improv workshops but with a sense of adventure and discovery that the audience can share.

„Babbeldasch“ will be broadcast in early 2017. Watch films by Axel Ranisch on realeyz. The exbition „1000 Tatorte“ is on view until January 17, 2017 at the Museum of Film and Television Berlin.

[freitagsmedien]

Seltsame Sachen & viermal Luther

Seltsame Sachen & viermal Luther

Die Gebrauchtwoche 23. – 29. Oktober Der Tatort, kaum zu glauben, expandiert. Nicht nur, dass die ARD-Reihe einen Großteil der positiven Kritik auf sich zieht; jetzt wächst er auch noch vom Fernsehen übers Radio ins Internet hinein, wo das Dresdner Team demnächst ein pathologisches Online-Spin-Off erhält. Star der kleinen Web-Serie ist der Gerichtsmediziner ist Falko Lammert (Peter Trabner). Und…

[girlfromdresden]

#291 | 25.11.2015

Alki Alki

7.5/10

[yahoo-kino-de]

12. November:  Alki Alki

Seit frühen Kindertagen sind Tobias (Heiko Pinkowski) und Flasche (Peter Trabner) beste Freunde. Alles haben sie zusammen erlebt, sie sehen sich mindestens einmal täglich. Meistens bestehen diese Treffen aus Saufgelagen und anschließenden Exzessen in Discos, wo die beiden Mittvierziger den Altersdurchschnitt stark in die Höhe treiben. Erwachsen geworden sind sie in all der gemeinsamen Zeit nie. Doch das stellt für Tobias ein zunehmendes Problem dar, denn seine Frau Anika (Christina Große) und die gemeinsamen drei Kinder verlangen nach genau dieser Reife. Als der Familienvater erst durch Trunkenheit am Steuer seinen Führerschein verliert und anschließend in ähnlichem Zustand beinahe seine Kinder zu Tode fährt, erlangt auch er die späte Erkenntnis, dass sich etwas ändern muss und die Freundschaft mit (der) Flasche ihm immer mehr schadet…

Bild: missingFilms