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Mar 11, 2020 · In his latest film ‘Curveball’, Johannes Naber does what he does best, tell a story inspired by the headlines yet in a narrative and human way. With humor and great insight thrown in. The film premiered as a Special Gala at this year’s Berlinale and is planned for a German release in the fall of 2020. But as part of an international ...
Apr 1, 2020 · More mea culpa than comedy, assuming/assigning responsibility for the role Germany played in helping George W. Bush settle a score with Saddam Hussein, director Johannes Naber’s nutso sendup of ...
Running time. 108 minutes. Country. Germany. Language. German. Curveball is a 2020 German political satire film drama directed by Johannes Naber. It is based on true events leading up to the Iraq War of 2003. [1] The film premiered in the Berlinale Special section at the 70th Berlin International Film Festival.
Sep 9, 2021 · Operation Curveball: Directed by Johannes Naber. With Sebastian Blomberg, Dar Salim, Virginia Kull, Thorsten Merten. The grotesque, at times even surreal, true story of how the Iraq war was started based on nothing but fake intelligence and the involvement of the German government and the German secret service.
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- Comedy, Crime, History
- Johannes Naber
- 2021-09-09
Feb 28, 2020 · interview: Johannes Naber film profile ] , a Coenesque German retelling of a story seemingly too good to be true, but which basically was – and wasn’t. Premiering in the Berlinale Special section of the 70 th Berlinale , director Johannes Naber ’s often outrageous delivery occasionally relies on artistic licence, while some of the most surreal sequences are very much based on real fake news.
- Jan Lumholdt
Sep 27, 2016 · Johannes Naber • Director. 27/09/2016 - German Films chatted to director Johannes Naber, discussing his career and uncovering the secrets of his latest film, Heart of Stone. Johannes Naber has a recipe for success: he is a person who thinks politically, and a director with something to say. He formulates a theory, poses intelligent questions ...
I met Johannes Naber for the first time on the stage of the Berlinale in 2011, at the presentation in the Perspektive Deutsches Kino of the Max Ophüls Prize winner, which he had just won for his feature film debut THE ALBANIAN. He was self-confident in discussion with the audience and astonishingly well-dressed for a young filmmaker.
