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80 min. German.

The Institute for Cybernetics and Simulation Research is threatened with closure – the starting point for this satire about how the university system is to be transformed into a turbo-capitalist research machine. Phoebe Phaidon, a highly qualified, up-and-coming young academic, accepts yet another temporary teaching contract. With her progressive ideals on climate research still more or less intact, she acts as a link to the frustrated, yet combat-ready students who have occupied the library. On the other side of the battle lines are the established faculty, whose will to survive in the cesspool of third-party funding acquisition has ground them down into vain cynics for whom no ridiculous concession to evaluation madness is too grotesque. Max Linz crafts his film with a keen sense of Berlin’s sensitivities, urban backdrops, office décor and academic attire. And he exaggerates decadent university jargon with gusto, its buzzwords functioning almost like the bait in behavioural studies. By the end, the film has practically become a musical, with a catchy tune that could be a post-capitalist revolutionary anthem: “Why can’t it be nice here, why are we not happy?” (Dorothee Wenner)

Max Linz was born in 1984. He studied film at the Freie Universität Berlin and the Sorbonne Nouvelle Paris 3, as well as film directing at the German Film and Television Academy Berlin (DFFB). He has been living in Berlin ever since. He also works as a lecturer and a freelance writer, focusing on film and aesthetics.

In the 1967 foreword to his study, ‘One-Dimensional Man’, Herbert Marcuse asks, ‘Does not the threat of an atomic catastrophe which could wipe out the human race also serve to protect the very forces which perpetuate this danger?’ – a dialectical figure of thought typical of the critical theory of the Frankfurt School and characteristic of the publicly effective university philosophy that existed around 1968.
A past long gone and long dead, one could say. And yet, on his tombstone Marcuse left the living reader a challenge, ‘Weitermachen’ (keep going – Ed.), which gave my film half its title. From his grave, the author calls on us to not let ourselves be hindered by an end, a discontinuation or a loss. The demand seems strange and disconcerting, downright grotesque – at the same time, it reminds us that the utopia of a life liberated from threats of annihilation, which would already mean a life ‘Sanssouci’ (without worries – Ed.), has not been realised. (Max Linz)

Production Maximilian Haslberger, Cooky Ziesche. Production companies Amerikafilm (Berlin, Germany), Rundfunk Berlin-Brandenburg (Berlin, Germany). Director Max Linz. Screenplay Max Linz, Nicolas von Passavant. Cinematography Carlos Andrés López. Editing Bernd Euscher, René Frölke. Music GAJEK. Sound design Jochen Jezussek. Sound Andreas Mücke-Niesytka. Production design Sylvester Koziolek. Costumes Pola Kardum. Make-up Julia Böhm, Ferdinand Föcking. With Sarah Ralfs (Phoebe Phaidon), Sophie Rois (Brenda Berger), Philipp Hauß (Julius Kelp), Bernd Moss (Alfons Abstract-Wege), Maryam Zaree (Wendela Wendela), Bastian Trost (Dakkar Prinz), Leonie Jenning (Pepa), Luis Krawen (Oswald), Martha von Mechow (Elinor), Max Wagner (Facility Management).

Premiere February 12, 2019, Forum


2011: Die Finanzen des Großherzogs Radikant Film / The Finances of the Grand Duke Radicant Film / The Finances of the Grand Duke Radicant Film (33 min.). 2012: Das Oberhausener Gefühl – Eine Depressentation in zehn Folgen (68 min.). 2014: Ich will mich nicht künstlich aufregen / Asta Upset (84 min., Forum 2014). 2019: Weitermachen Sanssouci / Music and Apocalypse.

Photo: © Carlos Andrés Lopéz & Amerikafilm

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