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Nazi Past Of Berlinale Founder Alfred Bauer Did Not Influence Festival Structure Under His Directorship, Concludes New Expanded Study

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The Nazi past of the Berlinale’s founding director Alfred Bauer, which only publicly emerged in 2020, did not influence its structure and program under his directorship from 1951 to 1976, a new study by the festival has concluded.

The joint expanded report, carried out in partnership with the Leibniz Institute for Contemporary History (LfZ), follows a preliminary joint investigation, commissioned in response to revelations in the German newspaper Die Zeit in early 2020 that Bauer had played a significant role in the filmmaking apparatus of the Nazi regime.

The new study was set in motion to ascertain whether Bauer’s previous Nazi sympathies had influenced the editions of the festival that he led. The Berlinale will hold a public panel on November 2 to discuss the findings of the report.

“We wish to thank the LfZ for the extensive, detailed research on Alfred Bauer. Since 2020, there has been the certainty that Bauer held a significant position in Nazi filmmaking and that he was able to continue his career in the cultural scene of the young Federal Republic through clever concealment,” said Berlinale co-heads Mariette Rissenbeek and Carlo Chatrian.

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“The current study by the IfZ demonstrates this, but also comes to the conclusion that this did not lead to a Nazi ideological characterization of the festival programme. The view of the festival’s history has been sharpened, and this confirms once again how essential it is to keep critically reflecting on one’s own history”.

Entitled “Showcases in the Cold War. New research on the history of the Berlinale in the Alfred Bauer era (1951–1976)”, the new LfZ study noted that rumours regarding Bauer’s career under National Socialism were already circulating during the 1950s, but he had vehemently defended himself, dismissing them as “slander”.

The report noted that an investigation by Berlin Senate Administration in 1960 had apparently not collected enough evidence to build a case. It added, however, that documents related to the investigation have not survived in the archives.

Significantly, the report revealed that ahead of the first edition of the Berlinale in 1951, Bauer had wanted to show a film by Karl Ritter, one of the most prominent Nazi propaganda directors, while concealing the author, but was prevented from doing so by the Senate administration.

Beyond this incident, however, the LfZ said there were no further indications that Bauer’s choice of films for the Berlinale had been ideologically charged or that Nazi directors were deliberately included in the programme.

“Instead, Bauer emphasised his apolitical attitude towards the medium of film,” read the report. “Nonetheless, his work as festival director was not devoid of politics, but fit into the new system of the East-West conflict: Accordingly, the Berlinale was supposed to demonstrate the superiority of the Western system as a “Showcase of the Free World” with the assistance of the cultural asset of cinema,” read the report.

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The study noted that in the early days of the Berlinale, Bauer was not the only person with viewed as having Nazi connections, but that the festival “was not shaped” by those figures.

“Ultimately, people who had been critical of the Nazi regime and, in some cases, had also been politically persecuted, also played an important role,” it said. “Former supporters and opponents of the Nazi regime met in the founding committee of the Berlinale, working under the observation of the British and American victorious powers in order to establish the Berlinale in the new front line of the Cold War,” said the report.

It added that while Bauer’s relationship with the Berlin Senate Administration had been fraught with conflict and constant disputes over areas of competence during his directorship, he made “a significant contribution to the success of the Berlinale by virtue of his organisational talent, his commitment to promoting high-quality films and his international networks.”



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Netflix & Paramount+ To Profile ‘Strip Search Caller’ ; TVOKids Spotlights Down Syndrome With Toon Series; ‘One Piece Film Red’ London Takeover — Global Briefs

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Netflix & Paramount+ UK To Profile ‘Strip Search Caller’

Netflix and Paramount+ have struck a first of its kind-of-deal over a true crime documentary telling the story of the strip search caller in the U.S. Paramount+ has taken UK rights to Pervert: The Hunt for the Strip Search Caller and Netflix has rest of world on the doc, which it will be calling Don’t Pick Up the Phone. The deal is believed to be the first time two streamers have worked in such a way in the UK and rest of world. The doc tells the shocking story of a hoax caller who targeted fast food restaurants across the U.S. – posing as a police officer investigating a theft, the caller instructed managers to strip-search the young female employees he said were suspects. For many victims, what began as a humiliating strip search escalated into sexual abuse.

Canada’s TVOKids Spotlights Down Syndrome In Animated Series ‘Griffin And Turner’

EXCLUSIVE: Ontario, Canada’s TVOkids and Big Jump Entertainment are working on 2D-animated series Griffin and Turner. Based on real Canadian brothers who a significant online following, the show follows the supportive pair as they, their friends and family undertake personal challenges but focus on the journey rather than winning. Turner has Down syndrome, and TVOKids executive producer Kirsten Hurd noted the series has been developed in consultation with the Down syndrome community. Producer Big Jump is behind shows such as Shutterbug and Big Words, Small Stories.

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London Gets ‘One Piece Film Red’ Takeover After Record Haul

To celebrate the record-breaking haul of One Piece Film Red in the UK, the Straw Hat Pirates are set for a takeover of iconic London locations on November 26. Via local distributor Anime Limited and Toei Animation, the cast and memorable scenes from the series will be projected onto the County Hall of London, opposite the London Eye as well as other key locations. One Piece Film: Red has grossed over £800,000 in the UK and Ireland since it released earlier this month, making it the biggest of the long-running franchise. A phenomenon in Japan, One Piece Film Red has grossed $162M to date worldwide 



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‘All Quiet On The Western Front’, ‘Belfast’ Top 2022 EFA Arts & Crafts Awards

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Edward Berger’s All Quiet On The Western Front and Kenneth Branagh’s Belfast top the European Film Academy’s Excellence Awards honoring achievement in the arts and crafts categories, the winners of which were announced on Wednesday.

Belfast won best European Production Design for Jim Clay, whose credits include Children Of Men, for which he won a Bafta in 2006, and Murder On The Orient Express.

The drama, set against the backdrop of the beginnings of “The Troubles” in Northern Ireland in 1969, also won best European Costume Design for Charlotte Walter (Blithe Spirit, Misbehaviour)

Netflix-backed German WWI drama All Quiet On The Western Front won best European Make-up & Hair for Heike Merker, and Best European Special Effects for Frank Petzold, Viktor Müller and Markus Frank.

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 In other categories, best European Cinematography was won by Kate McCullough for her work on Colm Bairéad’s Irish-language drama The Quiet Girl.

Best European Editing went to Özcan Vardar and Eytan İpeker for Turkish director Emin Alper’s drama Burning Days.

Polish composer Paweł Mykietyn won best European Original Score went for Jerzy Skolimowski’s EO.

Best European Sound went to Simone Paolo Olivero, Paolo Benvenuti, Benni Atria, Marco Saitta, Ansgar Frerich & Florian Holzner for Michelangelo Frammartino’s cave exploration drama The Hole.

The winners, which are decided by a special expert jury, will receive their awards at the European Film Awards ceremony on 10 December in Reykjavík.

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Jennifer Lopez’s Social Media Mysteriously Goes Dark

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EXCLUSIVE: The actress, producer and top-selling performing artist’s social media channels including Instagram, Facebook, Tik Tok and Twitter have suddenly gone dark in their featured/cover images.

Reps for Jennifer Lopez were unavailable for comment, but we hear from others that The Hustlers and Marry Me actress is on the verge of announcing a new project.

Here’s a look at her Instagram tonight:

While Lopez’s Instagram had erased all posts, a trail of her previous postings remained on Facebook, Tik Tok and Twitter. Across all four social media portals, Lopez counts close to 347M followers, the majority of that coming from her Instagram.

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Lopez’s Nuyorican Productions in June 2021 signed a multi-year first-look deal with Netflix spanning feature films, TV series and unscripted content, with an emphasis on projects that support diverse female actors, writers and filmmakers. Lopez co-runs Nuyorican Productions with her producing partner Elaine Goldsmith-Thomas.

Lopez scored her best opening for a live-action movie at the domestic box office with STX’s 2019 stripper caper Hustlers which debuted to $33.1 million, and grossed $105M stateside, $157.6M worldwide.  As a recording artist, Lopez has sold over 70 million albums, with J.Lo became her bestselling album with 3.8M copies sold in the U.S. and 12M global. Her Netflix thriller The Mother from director Niki Caro is set to debut in May. Her romantic comedy Shotgun Wedding with Josh Duhamel will hit Prime Video on Jan. 27.

On Facebook, one of her followers, Steffany Merino wrote, “What’s happened? Hope you and your wonderful family are ok. I’ll pray for your health and safety.”

Again, we hear something special is in the works in the next few days.



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