Das Glück meiner Schwester

Deutschland 1995 Spielfilm

Summary

My Sister′s Good Fortune

It is evening, a park exit. Christian has picked Ariane up from work, they are waiting for the bus. Ariane talks about her work in the market-garden and her sister Isabel. Christian has fallen in love with Isabel, and Ariane keeps talking for fear of being left by him.

 

Christian is a photographer without a regular income. Lunchtimes, he eats at the flat of his friend who is a painter, has a wife and child, and leads a way of life whose naturalness has never been questioned. Christian asks Isabel if she wants to move in with him, and he tries to stop seeing Ariane. All three think it is only a question of time before every-thing will be simple again, but none of them know how they will cope with this passing of time. "During the shoot, we were always throwing open the windows, and each place was fine that was loud, public and overwhelming. I think that these people - Ariane, Christian and Isabel - can only live in the city and would be unhappy or different in another place" (Angela Schanelec).

Source: German films Service & Marketing GmbH

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Credits

All Credits

Director

Script supervisor

Screenplay

Director of photography

Assistant camera

Lighting design

Prop master

Construction manager

Costume design

Assistant editor

Negative cutter

Sound editor

Sound assistant

Audio mixing

Cast

Unit production manager

Location manager

Production assistant

Production manager

Original distributor

Shoot

    • 22.02.1995 - 24.03.1995: Berlin
Duration:
82 min
Format:
35mm, 1:1,66
Video/Audio:
Farbe, Ton
Screening:

Uraufführung (DE): 17.10.1995, Mannheim, IFF, Gloria;
TV-Erstsendung (DE): 24.10.1996, West 3

Titles

  • Originaltitel (DE) Das Glück meiner Schwester
  • Weiterer Titel My Sister's Good Fortune

Versions

Original

Duration:
82 min
Format:
35mm, 1:1,66
Video/Audio:
Farbe, Ton
Screening:

Uraufführung (DE): 17.10.1995, Mannheim, IFF, Gloria;
TV-Erstsendung (DE): 24.10.1996, West 3

Awards

1996
  • Preis der Deutschen Filmkritik