In the summer of 2006, film directors Dominik Graf, Christian Petzold and Christoph Hochhäusler began corresponding with each other on the subjects of film aesthetics, the Berlin School, Germany and the film genre (their correspondence was published in German film magazine Revolver). Two years later they decided to continue this theoretical discussion with a joint film project: three individual stories revolving around the same “fait divers:” the escape of a convicted criminal from police custody. Graf’s Komm mir nicht nach tells the story of a police psychologist who meets old acquaintances while investigating a case. In Petzold’s Etwas Besseres als den Tod, a young man doing alternative national service experiences a love story without a future. And in Christoph Hochhäusler’s Eine Minute Dunkel, an indefatigable policeman hunting the escaped prisoner begins to doubt false certainties. Three films, three styles, three exciting approaches, variations, analyses. German television stations made this all possible. As Dominik Graf wrote: “… this work vis-à-vis mainstream TV, at its edges, in contradiction to and yet, whether voluntarily or involuntarily, in commentary on that mainstream – I find and have always found this to be extremely creative.”
Dominik Graf’s Don’t Follow Me Around:
Somewhere in the Thuringian Forest – a mythical region full of legends and superstition – a sex offender roams. Police psychologist Johanna is dispatched to Thuringia. She stays with her friend Vera and Vera’s husband Bruno, who have lived in this region for some time now. Old stories and old feelings surface. The two women come to realize that, ten years ago in Munich, they were both in love with the same man at the same time, without ever encountering each other. –Berlinale
Dominik Graf was born September 6, 1972, as the son of the actors Selma and Robert Graf. In 1972, he took up German language and literature studies as well as musicology at the University of Munich. In 1974, however, he switched to the Academy for Television & Film (HFF), where he shot the short film “Carlas Briefe” during his first academic year. In addition to his studies, he wrote screenplays for the TV series Auf Achse. Furthermore, he played small roles in feature films such as Der Mädchenkrieg (1977, Alf Brustellin, Bernhard Sinkel). He also took on the leading role in Heidi Genée’s comedy 1 + 1 = 3 (1979).
He received the Bavarian Film Award for his graduation film Der kostbare Gast (1979). Subsequently, Graf concentrated on his television work and directed several episodes for series such as Familientag and Köberle kommt. With his work on the TV series Der Fahnder and the Tatort episode Schwarzes… read more
One could argue, that the films of Markus Busch and Dominik Graf take place on their own plane of existence (Deine besten Jahre, Der Felsen, Das Gelübde, ...) The formal and narrative condensations they achive here are one-of-a-kind and the characters portraied by Jeanette Hain and Susanne Wolf are deeply fascinating. Together all three of the "Dreileben" features represent the apex of contemporary german cinema.
An overview of the revelations of Rotterdam’s retro on the German auteur.
What’s fascinating is not only the impulse to rank the three the films of the trilogy but also how differently various critics do.
A look at the posters for the films in the main slate of this year’s New York Film Festival.
A three film project by three German directors finds three different stories in one town being menaced by an escaped criminal.