Original subtitles

I've got very good news and good news. Which first?

Good, then very good.

The good news is that people liked your TV appearance.

People like family men.

- That was the right move. - I knew it.

I didn't make any moves, it was the truth.

The very good news is that we still have the time slot and budget.

- Great. - But you need a production partner.

- Why? We're two producers. - Yes.

Of course, you're the creators.

But it's essential that you get production support.

Back office, coordinated team, track record...

- The whole kit and caboodle. - We've always solved our own problems.

- What do we need producers for? - Sabine.

If you think that another professional would benefit the project,

then we are open and flexible.

And who would come and help us?

Hey, there she is. Maria!

MARIA FURTWÄNGLER BILLIONAIRE, ACTRESS AND PRODUCER

- One water. - Valentino.

Concentrated ginger. I find still water boring.

Maria is having an amazing run as a producer.

It's just amazing to see what she built up

in such a short time.

"The Believers" was just everywhere. How many streams did you have?

Oh, stop it, Sabine. I'm not like that.

Although, I must admit...

50 million clicks, that does feel pretty good.

Right, back to us.

I like the concept. What an exciting idea!

And Ricky? Hey.

I'm a huge fan.

But if we're honest about it,

you did run up a lot of costs that led you nowhere.

I would suggest that we make a clear cut here.

So the project starts right now.

What about the money we already spent?

- Yes, we bore the full risk. - Those are just details.

What we need urgently right now are new topics.

In my view, our series is based on two pillars.

The first pillar is edginess.

We compete internationally.

We should offer more emotion, more warmth.

And the second pillar is...

The second pillar is?

Expertise. You get the credits for ability, not for wishful thinking.

We take care of the realization now,

so there will be no more faux pas.

I suggest we just wait and see how the scripts turn out

and then we'll see who plays the lead role.

Kida? A good idea really doesn't depend on the actor.

That would be absurd.

Right?

It was my idea. It was a good idea. I got the ball rolling.

Sure. Of course.

By the way...

Did you know that our mothers know each other?

Really? What does your mother do?

She's an actress, and she always will be.

Edith Kirchhoff.

- She sends her regards. - Ah!

- Edith Kirchhoff? That's amazing! - Yes!

I'd love to see her again. She always had an incredible aura.

- Say hi from me, if she remembers. - I will.

- Of course! That's why she said hi. - Wait, Jürgen?

Your mother is Edith Kirchhoff?

- Yes. - You don't look anything like her.

- Maria? - Yes.

Listen.

You can produce it, on one condition.

I direct. No one else. It was my idea.

If I'm out, Ricky is out too.

- He said that? - Yes, he did.

The next episode is with Marlene Dietrich.

I love her. I really get her.

A bisexual actress. Is that your kind of topic, Kida?

You want diverse, don't you?

I mean, an Arab directing a woman. Does it get more diverse?

Are you trying to get rid of me? You're so negative all the time.

- No, no, no! - You are!

- It's true. Listen to yourselves! - I would say... No.

I would say...

Go on, direct.

On one condition. An intimacy coach on the set.

She means an intimacy coordinator.

Intimacy coaches have been an international standard for years.

It's for scenes that get intimate.

So when there's sex...

I think it's great! The energy you have together.

I knew sparks would fly.

From now on, ask Maria all the questions.

Okey-dokey.

- Sabine. - Maria, you'll call me.

- I will. - Ciao, Sabine.

- You're directing! - You're such a suck-up. Fuck off.

So you're the producer now?

I'm on our side, man, trying to strengthen our position.

- That requires tactical thinking. - You're a tactician now?

Come on, don't you want to walk on the red carpet?

At the Bambi Awards?

They stopped doing the Bambi Awards.

Ah! Ricky called.

Hey Ricky.

How are you, my brother? I hope you're okay.

Hey, lots of guys here in Berlin like the idea.

We're working together. I love you.

Marius!

Go suck up some more! We're a team, aren't we?

They're sucking me dry.

They're lucky to share a table with Toni Hamady.

Thanks to me, young people are watching TV again.

What's wrong? Why are you being so dramatic?

Listen, without you they can't make the series.

You're in front of the camera with Ricky Gervais.

- That's right! - Then what's wrong?

They want me to direct something where two women, together...

You know, the bi-thing.

You know, two women, bi-style.

- Why wouldn't you do it? - But what is that word?

It's important not to say things like that as if it's forbidden.

- Again? - Bisexuality.

A little louder.

- Bisexuality. - Bisexual!

Put the knife down.

Sami, look. This is how people sign cards.

Look how many I did and how many she did.

- She does a good job. - Look who's here.

- Hey! - Uncle Freddy!

Freddy, what's up?

Well, your husband is avoiding me.

Really? How?

He meets Maria Furtwängler, shoots with Heike Makatsch,

builds a huge set with Tom.

He really thinks people don't talk to me.

But they're my friends too.

What should I say when they ask,

"Freddy, aren't you working with Kida? He's directing now too."

I'm only good enough to play Goethe in some crummy garage!

I see.

- You, Furtwängler and Makatsch? - Remind him that I have others friends.

- Can you look me in the face? - I can't right now.

- Okay, Freddy... - I just can't.

Go sit down, Freddy.

Would you like some tea?

- How are you? - How nice that someone asks me.

I'm an emotional person.

So sometimes I'm good, sometimes I'm not so good.

Like with a movie. Sometimes you like it, sometimes not.

Sometimes you really want to act in it, but nobody asks.

Okay, kids, everyone to your rooms.

I need to talk to this uncle.

Freddy, after the teaser shoot, you said you were out.

I didn't know it would be this big thing.

Honestly, if you think about it, you only got it thanks to me.

And it's kind of sad to find yourself completely forgotten about.

Okay. Just say the truth to my face. Is it me?

You were just out of the loop.

Then you just have to throw my name out there.

Know what I mean? For years, I put you on every guest list.

And then after that circumcision thing,

my agency said, "Drop him."

But did I? No!

Because I'm your friend.

Freddy, I apologize. I should've been in touch.

I just got carried away. I made a mistake.

Fine. Okay. Who am I playing?

Listen. Everyone gets a guest appearance.

You enter some scene, "Hey, Freddy", "Hey, Kida", we hug...

No, no, no, I don't want that wishy-washy Kida stuff.

I want a proper preparation.

What I want to know is: Who is my character?

Who am I? Where am I going? Where do I come from?

What are my fears? What are my goals?

- I have to process that with my coach. - Okay.

Okay.

Let's meet for tea next week and we'll discuss your character,

where you come from, what your background is,

the kind of child you were, your inspiration.

- So you feel something. - Sure.

Great. Want to stay for dinner? Invite your friend.

- Sure. You're always welcome. - I'm definitely hungry.

What's keeping them so long? Make-up was 30 minutes ago.

I heard the ladies won't do make-up together.

Hi, I just wanted to introduce myself. I'm Alia.

Hi. Your intimacy coordinator.

Everything good so far?

- Yeah. I'm fine. - Great.

ANNE RATTE-POLLE AS MARLENE DIETRICH KATHRIN ANGERER AS HER LOVER

- Hello, Kida. - Hello.

Hi.

So, Marlene Dietrich comes from a film shoot

and now she's going to the hotel, where Mercedes is waiting for her.

- De Acosta. - Mercedes de Acosta, right.

You missed each other, how shall I say, for a long time.

You long for each other.

You're fond of each other. You love each other.

And then, Mercedes, you say,

"You make me feel alive in the few hours that I get to spend with you."

Then you have to...

...kiss. Then you kiss.

- Alia, please continue from here. - Thank you, Kida.

Kathi, please show with your own hands

where it's okay for Anne to touch you with her hands when you kiss.

Okay? Please do the same, Anne.

So you understand.

Consent.

Okay, please.

Okay.

Very good.

Okay.

Thank you very much for your openness.

- Kida, are you okay with that? - Great. That's great.

Great. Let's switch roles now.

Anne Ratte, please.

Kathi, you show that you understand and respect it, okay?

Please.

- Anne, that's all? - Well, it's just a kiss.

So you don't want to touch me when we kiss?

No, I think the scene is stronger if we don't touch.

Or not, Kida? What do you think?

- Me? - Yes.

Right, I need to...

The script describes a passionate kiss

between Marlene Dietrich

and Mercedes de Acosta.

It says "passionate."

We should do it in such a way that we follow the script,

but all participants feel comfortable.

I show passion with my eyes.

Okay, we'll have to accept that.

- Why do we have an intimacy coach? - Stop it, Clappi. Please.

I don't tell you what lens to use either.

Anne, a kiss is no different here. Let's just do a good job.

It's up to her. It's an awkward situation.

All right. Okay.

You need to be comfortable,

but Mercedes is right about the script too.

But Anne Ratte, we also respect your opinion.

That's why the intimate woman is here.

- Yes, thank you. - Right.

Mercedes, great.

- Intimacy scene, Marlene. Take 1. - And, slate.

- Camera? - Set.

And, action.

You make me feel alive in the few hours

that I get to spend with you.

Wait. Stop. We didn't agree on hair.

You call that a kiss? I feel absolutely nothing.

Sorry, but you can't tell they're lovers.

Maybe I'm the wrong decision-maker.

I mean, male gaze and all. I'm a man.

Shall we just redo it? It wasn't all bad.

- Let's do it again. - Is it okay if I say "cut"?

- Please? - No, that's my job.

I see, that's your job too? And you get to decide for yourself?

Yes, of course.

Kathi, you were great.

Anne Ratte too. The boom mic was visible.

But you were great.

Great acting. Goosebumps.

Let's just do it again.

- Are you okay? - Yes.

- Camera? - Set.

And, action.

You make me feel alive

in the few hours that I get to spend with you.

You meant it, didn't you? You don't think we fit together.

She didn't mean Kathi.

She meant Mercedes.

- The character, the part. - No, no, I...

That's all right.

I said the kiss doesn't work.

- It's true. - Hey!

I can't judge now?

You know, if everyone agrees that there's no chemistry between us...

If there are no sparks, then maybe that's just how it is.

- It just isn't working! - It was great.

She looks at me with such dead eyes.

Did you see that? No, I want to go now.

- Can I have water? - Water, please.

Get Anne Ratte water, please.

- You and your East-German humor. - It's not about humor.

- It's against my lesbian honor. - It didn't work.

- Your what? - My lesbian honor.

We're slowly getting there. That's normal with scenes like these.

- That's why I'm here. - I don't mind.

Who knows more on the topic? Me, you, or her?

- When I say it stinks, it stinks. - I'm directing!

I have to tell you when I see it doesn't work.

Do I have nothing to say?

- We'll manage. - I'm the director!

She can say cut, then you get involved.

What am I doing here?

What am I doing here?

Kathi, what did I do wrong? Please come out.

- No. - It was just a test run.

Can I do anything to make you feel better?

Kida?

Don't pressure her. Give her space to breathe.

- Tell me, do you need space? - Yes, I need space.

You're right, she needs space.

It happens to all of us.

- But it hurts. - Come here.

Anne and I have been together for two years, you know.

I can't tell anyone and nobody knows about it.

You know, she's hiding me.

It feels terrible.

Like as if I'm some random fling.

I was hoping that would change here.

It's romantic, the two of us playing Marlene and Mercedes.

But what does she do?

- She embarrasses me in public. - That sucks.

- I think I'd better leave. - No, no, you're the best actress.

I can't lose you.

But I can't kiss her anymore.

- I have to break up. - Okay, listen.

Listen, we'll change the scene.

You won't even have to kiss her.

Here's what we'll do...

- Camera? - Set.

Tail slate. And, action.

You make me feel alive.

In the few hours

that I get to spend with you.

I would've said that yesterday.

But today, I know that there's no point.

I can't wait for you to admit your feelings.

I have to think of myself.

Leave.

Go on now! Leave already!

Please, darling, I don't want to lose you.

That's really the last thing I want.

I'm sorry.

I really am. Please.

What are you waiting for? Just go already.

Go on.

Thank you.

Little Maria!

Well...

- Not that small. - I need to get something off my chest.

If Marius goes to such lengths to put me away in a home,

and shows himself up like this in front of everyone,

then he really is fully committed to something for once.

It might be the first time in his life.

Perhaps there is something of me in him after all.

Oh, I'm absolutely convinced of it.

It's a great honor to be here.

- Thank you so much. - Let's get to the point.

I would do it. But if I do, we'll go all the way.

No comedy.

There's no need for that film-in-film nonsense.

Fine, no remake.

We'll just throw away the "Extras" concept.

I want to play the most interesting

and ambivalent female character in Germany.

Leni Riefenstahl.

And you two produce.

That's really an interesting character.

Risky.

Edgy.

Edith...

I would be honored.

One last time

on the biggest stage.

- Who will write it? - We have a writer's room.

No, no, I know someone. There's this young, aspiring writer.

What's her name? Huyen.

She's wonderful. She's already wrote about Riefenstahl.

What about Kida?

- Kida? - Yes.

Right.

He's a bit overwhelmed at the moment.

Sure he's in,

but he doesn't feel so comfortable in the director's chair.

He really struggles with it.

I thought you were a team?

We are, but...

there comes a time when you need to break with old friends.

Marius, I'll break your voicemail, man. Call me when you get this.

Surprise!

You're the best. I love you. Come here.

How cool are you guys?

- Did you do this, Ida? - Yes!

- It was your idea, wasn't it? - Yes.

You little Mickey Mouse.

You're so, so sweet. Thank you.

My little princess.

- My arm's going to fall off. - Keep it up.

No, wait.

First the music.

Then the image reaches its full potential,

and then the door opens.

Not like...

- What happened to documenting? - Documentaries lie too. Okay?

We keep going until we're satisfied. It's precision work.

- I hope he trips and dies. - Fingers crossed.

Please.

Thank you.

No!

Pan along! This is where the picture reaches its potential!

Not on that white truck!

- But we agreed to... - I don't care what we agreed!

You need to be flexible! That's the picture.

- Just film the houses then. - What?

Are you even listening to me?

I'm sorry.

That's the tension.

But you have to try a little harder.

Again, please.

When you say "Again", say "Let's do it again".

With some motivation. That helps me too.

Again, please.

See?

- Did you bring pepper spray? - Yes, the strong stuff.

Great. After the shoot.

Film is like a long journey.

A coach ride through the Wild West

where anything can happen.

And if you don't dare to go on this journey,

you will never be wonderfully surprised.

Because at the end of the journey, there is something unknown to us.

The destination is at the end,

and nothing, but nothing,

goes around in circles.

PRODUCTION OFFICE KIDA PRODUCTIONS

Good morning!

Morning?

Karl?

Not there either. Okay.

Morning!

Marius, why is the damn office empty?

- Don't we have auditions and readings? - Kida, come this way.

You're staying here. You hear?

- Why are the press here? - They're not press, they're making a...

- Are you fucking with me? - Just pretend they're not here.

Okay?

Maria told me she spoke to you

and that a weight fell off your shoulders

when you heard we're not doing a remake,

but "German Genius" as a series with an experienced director.

You planted the seed and let it wilt, but now we have to harvest.

Maria didn't call me. Nobody called me.

I didn't know that. I'm sorry though.

Really.

Kida, "German Genius" without the remake concept is much better.

More unique. Nobody understood all the layers anyway.

I got the rights from Ricky Gervais. You can't just kick me out!

We don't need those rights anymore.

We're doing something new.

I've now secured the title "German Genius".

You didn't do that.

Listen. Do you see this thing here?

I'll put my fist up your ass and make you dance like a puppet.

- Listen, you little rat. - Film this.

- You're filming this? - Yes.

I don't give a shit, you jerk. You played a washcloth in a soap opera.

You played a spoon.

- Now you're stabbing me in the back? - We're on a set, not on the street.

Just call Ricky Gervais and tell him we don't need him anymore.