Staatsschutz

The writer and director Kris (Hannah Einbinder, *Hacks*) is tasked with adapting a slasher series – one that has long since run its course through endless sequels, remakes, video games and action figures – to the ‘woke’ zeitgeist. For Kris, who is queer herself, the project is more than just a job. Ever since her teenage years, she has been fascinated by the series’ first ‘Final Girl’, Billy Preston (Gillian Anderson), who now lives a reclusive life in the woods of the original filming location. Kris visits Billy for her research, and what starts as an informal business meeting – complete with mountains of sweets and joints – turns into a journey into the mysterious meta-world surrounding the killer ‘Little Death’ and Kris’ own desires.

Jane Schoenbrun’s (I SAW THE TV GLOW) new film also tells the story of outsiders – nerds who take refuge in the colourful worlds of media narratives and merge with them, even on a visual level.

Kris is supposed to adapt her favourite classic slasher franchise for a "woke" audience.

Teenage Sex and Death at Camp Miasma

Right from the very first shots of his feature film debut, Kai Stänicke makes it clear: the events are staged reality. The houses are merely façades; behind them lie open, furnished rooms set against the green hills of the island of Norderney. A group of villagers gathers in front of them as Hein returns to his home village after 14 years. Back then, he moved to the mainland to escape the confines of island life and seek his fortune. Now he is back, but nobody seems to recognise him. A village tribunal is to determine whether he is telling the truth and whether he will be welcomed back into the community or banished from it.

After being gone for 14 years, Hein returns to the remote island community he grew up in. But the people there claim that he is not who he says he is.

Der Heimatlose

Für immer 16

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