Keeley Naylor / Zoe Flower at Emfoundation / 020 7247 … Naylor / Zoe Flower at Emfoundation / 020 7247 4171 [email protected] / [email protected] 2 “Pure delight! The

vvvvv For further information: Keeley Naylor / Zoe Flower at Emfoundation / 020 7247 4171

[email protected] / [email protected]

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“Pure delight! The Berlin scene at its wildest, kinkiest, weirdest, funniest best. The discovery of the season! Why aren't there more films like this?!!”

Ron Holloway (Moving Pictures)

'An eclectic, madcap bleat into Europe's coolest city!" Kaleem Aftab, Hotdog

'Anarchic, energetic, scatalogical, but well­meaning...just like a night out in Berlin!'

Phil Hoad, Dazed & Confused

'I really enjoyed it, the outrageous, bad taste humour and the punk spirit reminded me of Clerks. It might not be the deepest film ever but it's great fun!'

Virginie Guichard, What's on in London

"Refreshingly irreverent and definitely the most daringly original comedy to come out of Germany in a long time."

Robert Fischer, Munich Film Festival

"Very funny and extremely entertaining..."

Heinz Badewitz, Hof Film Festival

EDINBURGH FILM FESTIVAL 2006 World Premiere Saturday 19 August 2006

AUDIENCE REACTION at the Edinburgh Film Festival 2006 screenings:

"I did the Q&A's for both screenings ­­ and they were great. I have to say, I've rarely seen people respond so positively to a film. After the Saturday screening, the audience (mostly quite young) were whooping and cheering, clapping with hands in the air. So this is marvellous... yesterday was still very positive indeed (and with a broader age demographic in the audience)."

James Rice, Programmer/Head of Screenings

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"... a riot of filthy­minded fun ... packed with affectionate digs and in­jokes about contemporary Berlin and the misfits and black sheep who gravitate there. Youthful, energetic and defiantly in your face, Black Sheep is powered by punk rock spirit and overheated libido.

Rihs invited me to witness the flying of their gas­filled inflatable sheep (admittedly not black but it is wearing a fetish mask) and it was an opportunity too good to miss."

Wendy Ide (The Times) on Monday, 21 August 2006 from the 60 th Edinburgh Film Festival

"Black Sheep is an anarchic multi­stranded odyssey that gives Clerks 2 a run for its money on the sexual deviancy front."

Wendy Ide (The Times) on Thursday, 24 August 2006

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NEW PRESS REACTIONS

“very refreshing” Leo Bankersen, De Filmkrant

“It's clever, sick, twisted and more controversial than a dozen Jerry Springer Operas. In short I absolutely loved it!” Chris Grant Netribution co. uk

“I enjoyed the film a lot. I hooted with laughter so loudly at the granny scene at the end of the film that half the videotheque turned round to look at me”

Damon Smith PA Entertainment/Attitude from an Edinburgh Filmfestival

video­pre­screening

“Black Sheep was definitely the most provocative film I saw at the festival. Having said that it was, as a result, one of the most shockingly hilarious. It genuinely received the greatest number of horrified belly laughs of any press screening I attended”

Marshall Veniar (Glasgow Herald writer)

“messy, punky, shambolic and fun”

Kaleem Aftab, Hotdog

“Black Sheep provides laughter in areas that we shouldn’t really laugh at but at the end of the day just can’t help ourselves.We know it’s wrong but it’s just so damn funny. Journeying through a monochromatic Berlin, we encounter different characters from different parts of the city, all of them with one thing in common – they’re total losers. From the trio of horny Turkish teenagers to the world’s worst Satanists, the set­ups are completely ridiculous but with these characters, utterly believable. So buy your Granny a big bunch of flowers, leave any sense of good taste that you may have at the door and enjoy the trip!”

Matt Harris Sky Movie News

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FIRST PRESS REVIEWS Sometimes a film doesn't need clever plot twists, lives connected by chance meetings, a barely concealed religious subtext or pretentious delusions of grandeur. Sometimes all you need are great characters, good jokes, and plenty of bodily fluids.

Black sheep tells five concurrent tales linked only by their setting, 21 st century Berlin. The first concerns Boris, a hand model turned conman desperate to go straight and live a life of erotic experimentation with Nadja, the beautiful lady from Vogue. The only problem is that he's skint, but that's nothing that can't be fixed by insurance fraud after a wee bit of axe based finger pruning. The second story tells of Charlotte the tour barge announcer and her alcoholic boyfriend Peter who ­ through verbal and bile based abuse ­ consistantly sabotages her attempts to impress a former classmate and her posh husband. In another zone we join Ali and his mates; they're horny as hell and desparate for anything warm, wet and concave. Unfortunately after a series of brutal mishaps they end up beaten, in debt and floating in a lake, hopped up on rhino tranquilizers... Julian and Belin have a relatively mundane story of cannabis, anarchic hippy communes, gay artists and accidental anal leakage ...Last, but by no means least, we meet Fred

the Satanist and his pointy haired sidekick Arnold. It's hard work being evil

... it's more like American Pie (without the prudish American restrictions) in the visual style of À Bout de Souffle. The result is a beautiful mess, a glorious shambles of bad taste and street humour, an exploration of youth culture in a city that eats, breathes and shits stories. Criticism could be levelled at the crude humour, juvenile tone... but really to do so would miss the point ­ this film is about anarchic entertainment not life changing cinema... great fun and a cult hit waiting to happen.

EyeforFilm / Movies George Williamson

Edinburgh Film Festival 2006

How refreshing, after so much worthy endeavour, to find a film that wants to improve us not at all. That cares not a bit for educating us, or transforming us, or illuminating some hitherto unacknowledged facet of our contemporary lives. That, on the contrary, seeks only to entertain – and then, by the very crudest and most direct of means. A gleeful cavalcade of bad taste, Oliver Rihs’s feature is a provocation only to those prepared to be offended by it; for the rest of us, it’s a funny, rough­hewn and mostly effective comedy, extreme enough to nudge the boundaries of good taste while at the same time tinged with a real affection for the gallery of misfits, hustlers and dreamers it depicts.

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Though its makers are mostly Swiss (writer­director Oliver Rihs made his debut with Blackberries back in 2002), this film’s subject, and its great overriding passion, is Berlin – a city currently unique in Europe, being at once the nation’s capital and one of its most impoverished major centres.

Through five unrelated stories, all occurring more or less simultaneously, we glimpse something of the state of the city and its inhabitants post­ reunification: its uneasy synthesis of commerce and privation, its ingenuity and enterprise.

One could, if one were so inclined, detect a political allegory here: tour guide Charlotte’s verbal assault on her former classmate, now a bourgeois “Wessie” (West German) housewife, has the familiar plaint of former East Berliners against their more affluent cousins on the other side of the Wall. And one might, at a stretch, discern in the travails of Ali and his two comrades ­ perhaps the most desperate­ to­get­laid teenagers since Lemon Popsicle – some anguished plea on the life of Turkish immigrants, the sons and daughters of the Gastarbeitern; or in Julian’s callow activism, the political and spiritual malaise of the post­Baader­Meinhof generation.

But this would be mere sophistry: a film critic’s desperate attempt to overlay a template of meaning upon something that is at heart, and by design, critic­proof. You either accept Black Sheep as it is, or not. Fact is, it’s fun, and genuinely iconoclastic: as close as anything has come, in recent years, to a genuinely Punk cinema.

Finally, a word about the credit sequence: undoubtedly the most beautiful of the year and as such, a landmark in a rapidly vanishing art.

Shot in high­contrast B&W, featuring accelerated footage of various visual landmarks (from railway station platforms to the telecommunications tower at Alexanderplatz), and scored to a superb, driving slice of funk, it communicates at least as strongly as the film, which follows it in the hectic, can­do nature of life in the metropolis.

Edinburgh International Film Festival 2006 catalogue

“Rihs’ second feature is a no­holds­ barred assault on good taste and bourgeois convention... a vivid sense of Berlin today: the sex­ clubs, the Kreuzberg squats, the, er, amputations…. Shot in grainy monochrome, flecked here and there with odd, brilliant touches of colour (that credit sequence alone is worth the price of admission), it`s a hardcore treat for the young and unshockable...”

Edinburgh Festival Pre­ Announcement

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Tom Schilling (left) and Robert Stadlober (right) as gay alternative

backyard heroes in Berlin today. Their lifestyle’s keywords are written on the wall: “no money doesn’t stink…” (Photo from BLACK SHEEP,

InFrame)

All pictures in this press book are available for publication in digital formats

INFRAME NEW CINEMA BY HOLLYWOOD CLASSICS

Linton House, 39/51 Highgate Road, NW5 1RS London, UK Tel: +44 (0)207 424 72 80 Fax: +44 (0)207 4288936

e-mail: [email protected] www.inframe.net

BLACK SHEEP is an exceptional new German film.

An anarchist Berlin backyard comedy full of surreal black humour.

Funny moments of tragicomedy in simple events of modern life.

Independent. Wild. Free. Funny. Different.

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Turkish teenagers at a Goa party (Eralp Uzun, Oktay Özdemir, Richard Hanschmann) counting some stolen money to finance their sexual adventures (Photo: BLACK SHEEP, InFrame)

Perfectly normal days in Berlin

URBAN TRAGIC COMEDIES

• A hopeless impostor (ex­hand model for Rolex watches) wants to seduce a yuppie girl but they both discover unexpectedly true love and the ecstasy of a painful heroic sacrifice

• A working Eastern Berlin woman and a jobless drunk artist are dreaming of big money and losing a job during a boat tour, but life is life and love goes on

• Three young Turkish teenagers try everything to get sex and discover life, girls and nature ­ till they get into trouble and finally find ecstasy in excess, as soon as they stop searching

• Two unlucky, but ever­so­nice young Satanists spare no effort to be bad, but tragically get it all wrong ­ and Grandma unexpectedly well

• Young gay boys, politics and love ­ passions, illusions and the dream of an alternative economy ­ shit happens, but we all get older

An anarchistic comedy of errors and terrors in the daylight and nightlife

of new Berlin.

Marc Hosemann and Milan Peschel trying hopeless new ways of insurance fraud (Photo from BLACK SHEEP, InFrame)

Director/producer Oliver Rihs and Cinematographer/producer Olivier Kolb

ABOUT THE MAKING OF BLACK SHEEP

Money eats time and space. Berlin has endless time and space. Time and space are luxuries. For crazy ideas, for transverse experiments, for urban subcultures, for the desires of the many black sheep living in this city there is no money. But black sheep also want money. A lot of it, preferably! They want, like all others, material success and fame. Swift! These ironic thoughts gave us the impulse and the theme to start this highly anarchistic film project. Without any subsidies, sponsorships or tv money we began production with our tiny private budgets. No money for a movie about ‘no money’ was the radical keyword. Every participant should only be part out of pure commitment to the project and enjoyment of it.

Our anarchistic fire sparked quickly and soon a group of gifted screenwriters, professional co­ workers and famous actors joined in. All were hungry to make a movie, in which experiments, crazy ideas and going beyond limits was almost unlimitedly permitted. Three tight months later our courageous team jumped into Berlin’s urban deserts and dirty everyday jungles. Loaded with gallows humour and godly faith we fought our way through the production of five hair­raising urban fairy tales. Two months later all the footage was “in the box” and we soon realised that the unrestricted energy of our radical production methods can be felt on screen ­ and that our project will transform into a highly idiosyncratic and incomparable German motion picture.

Oliver Rihs

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OLLIWOOD PRODUCTIONS present

BLACK SHEEP (SCHWARZE SCHAFE)

Produced by OLIVER RIHS & OLIVIER KOLB

Directed by Oliver Rihs

Director of Photography Olivier Kolb

Music by King Khan

Written by Thomas Hess

Michael Sauter Daniel Young Jann Preuss David Keller Oliver Rihs Olivier Kolb

René Römert Production Designer

Jochen Sauer Production Designer Barbara Schramm Costume Designer

Ramon Orza Film Composer Florian Kühnle

Sound Oliver Geissler

Gaffer Franziska Puppe

Visual Postproduction Janka Venus

Make Up Design Andrea Picht

1st Assistant Director Medea von Ah

Production Manager Dana Buhler 1st Continuity Birgit Glatzel

Set Photographer Christian Hirschhäuser

Set Photographer

Editors Andreas Radtke

Bettina Blickwede Till Ufer

Sarah Clara Weber

Robert Stadlober (right) and Tom Schilling (left) in their Berlin backyard garden, growing carrots and marijuana (Photo from BLACK SHEEP, InFrame)

• Unusual, fast moving young comedy ­ loveable and eccentric character studies from the wild side of German new independent cinema. Everyday moments of Berlin life with surreal double twists. Full of of love for life and a morbid but warm sense of humor, surreal lifestyle observations and surprising turns.

• A very visual movie, stylishly anarchistic with fascinating b/w shots of modern Berlin and a few gentle colour effects. A cult object for urban youngsters with a lot of good smiles for the general audience.

• Set in an eclectic/electric Berlin ­ full of surreal metropolitan madness ­ full of hilarious clashes of cultures, lifestyles and everyday illusions.

• Modern, poetic and surreal stories with heart and black humor.

Jule Böwe and Milan Peschel reuniting in a Berlin lake after their dream of being rich and famous has burst like a soap bubble (Photo: BLACK SHEEP, InFrame)

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CAST

Marc Hosemann Boris Wecker, the imposter

Barbara Kowa Nadja, his subject of desire

Bruno Cathomas Roger, his best friend Marie­Helene Echard

Edna, his wife Dietmar Rüttiger Chef de Service Christian Weber

Hotel Page Sandra Nedeleff

Waitress

Jule Böwe Charlotte Heinze Milan Peschel Peter, her friend Jenny Deimling

Daniela Köhler, Charlotte's college friend Robert Lohr

Stefan Köhler, Danielas friend Michael Kinkel

Volker Dietl, Daniela's rich husband Manuel Florin Hendry

Receptionist

Robert Stadlober Breslin, Julian's best friend

Tom Schilling Julian, Breslin's best friend

René Römert Leo, founder of the agency

Stefan Ebner Stefan, founder of the agency

Narges Rashidi Roxana, his girlfriend Daniel Krauss

Caramel, ex­lover of Klies Beat Marti

Klies, ex­lover of Caramel Christoph Lukas

Freak Molly Luft

Molly Luft, agency office worker

Kirk Kirchberger Fred, Arnold's friend Daniel Zillmann

Arnold, Fred's servant Helga Senk

Arnold's Grandma Michael Kinkel Arnold's father

Isabelle Ertmann Arnold's mother Irina Kastrinidis

Natascha, Fred's second­last problem Lilli Goldhammer

Child, Fred's last problem Jens Wassermann

Jesus freak

Eralp Uzun Ali

Oktay Özdemir Birol

Richard Hanschmann Halil

Frank Giering Doorman of KitKatClub Robert Strasser

Doorman of KitKatClub Mina Tander Olga, hitchhiker Ursula Ullrich Anna, hitchhiker Irina Kastrinidis Natascha, hooker Christoph Lukas

Freak Rüdiger Rudolph

Horst, welfare victim and artist Emma Ott

Claudia, Goa party dancer Isabell Höpfner

Hanna, Goa party dancer Hakan Can

Ketamin bar keeper Olga Kolb

Barbie, Ali's willing girl Hassan Kassab

Original Hassan (Hey)

Daniel Zillmann and Kirk Kirchberger as two young Satanists that perform good deeds ­ accidentally, of course (Photo from BLACK SHEEP, InFrame)

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Producer/cinematographer Olivier Kolb tried lots of new lighting techniques to create in 2006 Berlin a classical yet modern B&W look with colour effects for BLACK SHEEP. He is a dedicated fan of DP Robbie Müller, who shot most of Wim Wenders’ films (Photo: BLACK SHEEP, InFrame)

Director/producer Oliver Rihs at the set of a poetic happy ending for his new

anarchist comedy BLACK SHEEP (Photo: Black Sheep, InFrame)

PRODUCER’S STATEMENT

"Since we were living in Berlin, we had the wish to make a small independent punk­style episode movie about the seedy spirit of this city ­ mean, funny, but full of love. Berlin ­ that doesn't mean the toughness and coolness of London, the glamorous showmanship and overdrive of New York or the museum­like arrogance of Paris. Berlin ­ what a city! Once built from sand and swamps, constantly bankrupt, never finished building ­ a place that defines itself through an assembly of non­places. Where people meet Wednesday afternoon at 3 o'clock for breakfast. Here, where nobody has ever any real money, but there is always enough for a drink, where people enjoy to have funny anti­capitalist ideas and discussions and anti­Americanisms are fashion.

Where building up a career seems to be rather odd than sexy, where any attempt to strive for success feels somehow politically incorrect. Director Oliver Rihs explained six different writers roughly what he had in mind, where the episodes should play and gave them a brief outline of the characters. The rest was freefall.

The result is a comedy in five facets ­ tasteless, chaotic, neurotic, ugly, naive and somehow very loving and charming, just like Berlin. The characters tap through a series of everyday tragic comedies and funny backyard dramas ­ burdened by their tasks that will soon disappear as they walking on."

Berlin – one of the capitals of today’s youth culture is the colourful location of BLACK SHEEP, an anarchist Black&White film comedy shortly before completion (Photo: BLACK SHEEP, InFrame)

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Planet Interview (excerpts) with the two producers of BLACK SHEEP:

director OLIVER RIHS and cinematographer OLIVIER KOLB

BLACK SHEEP (first working title was “Goodbye Reagan”) is an anarchist German comedy, sharp and ironic, but full of love for its characters. It is about Berlin people without money, five groups of people searching for all kind of cheap tricks and mad ideas to find money, become rich and famous or get laid. They all fail tragically in a funny way, but win in another way. The producers of BLACK SHEEP are breaking taboos in many ways, but have nevertheless high ambitions: Oliver Rihs and Olivier Kolb want to entertain in style, the same way they would like to be entertained themselves.

• BLACKSHEEP is by decision fully independently produced. That requires a lot of courage ­ to finance such a project fully yourself. What has lead you to this decision?

OLIVER RIHS Courage? It was mainly fun that lead us to this project. The fun to really work without film subsidies or any other industry support and to be free to do what you like, fully on your own. To do a film again like in the times when we started, when we did our first movies – with chutzpe, sometimes naïve, playful or bold. The courage part was to invest all our savings for the joy of making it.

• Did you have to make painful compromises in your earlier work because of extreme restrictions?

OLIVIER KOLB Well, that was one reason to risk a completely independent project. From the idea, the look, the approach of the heads of each production department, the efficient, closely connected crew to the story, the actors. I believe that you need a clear vision that leaves the rest open, if you want to inspire people’s enthusiasm. The most exciting for people is the promise to be able to do something that you always wanted to do ­ and to do it in your

own way. And that is the center of our project. The collective joy of making something in an unrestricted way.

OLIVER RIHS We all know that – from the first line there is always the question: will the producer, the commissioning editor, the subsidy commission or whoever decides about money, like it? I call it the inner censorship from the start. I just wanted to do for a change something that I would love to see ­ with the firm belief that one can find in this way an enthusiastic audience more directly and honestly.

• Would you like to continue in this unrestricted way?

OLIVIER KOLB Absolutely. But this would mean that we would need to re­create a similar situation and stories that give a lot room for characters, grotesque and play with style…

OLIVER RIHS I want to continue experimenting. There are so many alternatives to shooting a film with a big, fat crew from a storyboard in an industrial way in 5 or 6 weeks. To trigger a creative process off, in the moment when you are at the location, and let it grow from there, is so much closer to real life. Another benefit of independent production was that we could stop and start whenever we wanted. The intermissions were not dictated by the production process, but by the creative flow.

• Your film has an exceptional German star cast. How did you manage to get all the well­known names into your project?

OLIVER RIHS I wanted to have some of the actors in our movie, before the actual script was written. All of them loved the characters from the first beginning ­ especially Robert Stadlober, Tom Schilling, Marc Hosemann, Jule Böwe, Bruno Cathomas, Frank Giering, Milan Peschel. Their cool

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acting style carries the whole project along and is an integral part of the movie. It would have been much more difficult to get them through the conventional channels. But we just came along and said “Hey, we think you’re cool , what do you think about your project, because we can’t pay you. Would you still like to be part?” and they liked that. The promise was that I wouldn’t try to keep total control, but instead let them put something of themselves or their favourite characters into the film. The set design was, for example, different to my idea, but I thought, “I want to utilise that”. If they all love the spirit of what we do, I want to go with the creative flow, not keep everything under my thumb. The potential of all people working on a film can enrich the project enormously, I wanted to use that.

• Why black&white?

OLIVIER KOLB As a photographer I started with b/w. In black&white you can “read” the characters better, the set disappears to a background – and you can use any light source, no matter what colour the light has. We sometimes used neon or builder’s lamps for certain scenes. I gave most of my light budget to the set design department. Instead I tried classical b/w (plus some colour effects) with all sort of light sources. I like to light up the whole set so that I can shoot without set changes into any direction. That leaves the actors a much bigger variety of spontaneous acting options.

• Your film has quite provocative moments, did the fun of free production make you consciously try to break conventions?

OLIVIER KOLB These are all little stories that you can experience live, every day in Berlin­Kreuzberg. We just developed the absurd, grotesque elements in our neighbourhood a bit more.

OLIVER RIHS I liked the subversive element in it. This is an area that has been neglected for too long and seems to be hardly existing anymore, especially in the German cinema. But not subversion just for its own sake, rather as a way to change perception a bit, showing visuals that you don’t see everyday in the cinema or on TV. Challenging people’s perception…

• What’s next?

OLIVIER KOLB Our first aim and largest audience potential is still the cinema. The film is highly entertaining. But there is interest of TV and video, too. We will see. We just feel that we somehow owe this picture to the theatrical audience. So we will try to get it there in the best possible way.

Interview by Christoph Lukas

Director/producer Oliver Rihs relaxing after he has finished shooting BLACK SHEEP ­ a new independent Berlin cult movie about people with no money, shot in the adequate style – with no money (Photo from BLACK SHEEP, InFrame)

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BIOGRAPHIES

Oliver Rihs, Director / Producer

Oliver Rihs was born 1971 in Männedorf (Zurich /Switzerland). After a doing a foundation course at Zurich’s Design College he completed an apprenticeship as graphic designer and worked as freelancer in both advertising and cultural production (1992­ 1995). He simultaneously gained his first experience in film whilst working as assistant in advertising film production, accompanied by intensive autodidactic study of film theory, analysis and history. He ended his design career in 1996 and became a social worker for elderly people (ProSenectute). Concurrently he realised his first video­works, gained experience as AD and manager on­ set during various film productions whilst creating different documentary features as free­lancer for SFI (Sendung Quer). In 1997 his short “Lillien” was shown at a range of short film festivals and was released in 1998. It won an award for best short film at the Int. Filmfestival Locarno. Since 1999 Rihs lives and works in Zurich and Berlin, where he wrote the script for his first feature film "Brombeerchen", realised 2001 in a Swiss­Spanish co­ production (The film with Robert Stadlober and German film­price winner Birol Ünel in the lead ran in German cinemas in 2003).

Since February 2000 Oliver Rihs is teaching Film and Video at the “Punkt G” Design school and the film academy “F&F” in Zurich.

Movies: 2005 “Black Sheep” (Cinematic / Oliwood Production). 2005 „Dagmars Plan" (Script for cinematic production / Pandora­ Film D). 2005 ”Auszeit" (Feature film script). 2001 "Brombeerchen" (theatrical feature film). 1999 „Lillien" (Shortfilm). From 1999 bis 2002 various Music­Clips und experimental animations "Fremder Da Draussen" (Shortfilm / Video), "Ricard" (Shortfilm / Video / 45 Min) and documentary features for SF1.

Olivier Kolb, Cinematographer / Producer

OLIVIER KOLB was born on 9 February 1968 in Basel. In 1991 he very successfully completed his apprenticeship as photographer with Hugo Jäggi. He received the BIGA award for the best final project. His works where often exhibited and he received awards for his documentary photography. Since 1993 he is participating in different short films, in theatre and film productions. He is co­founder of koboiFILM, works in Zurich and Berlin as DOP and producer.

2005 Black Sheep, Dir.: Oliver Rihs. (Camera ans Production). 2004: Little miss perfect, Dir.: Nica Junker. 2003 Fiktion: Emilia, Dir.: Henrik Pfeifer. (Camera 82’ and Production). 2002 Likrat, Dir.: Gabrielle Antosiewicz. 2002 Villa Christoph, Dir.: Gabrielle Antosiewicz. (Concept and Montage). 1998 Co­founder of koboiFILM. 1996­99 Cameraperson and

Producer of div. cinema and TV­clips for Siemens, USM­Haller, Anti­racism campaign ­ UBS – Swiss Rail ­ Swiss Lottery – Migros. (Assorted) documentaries and feature films for Swiss TV.

Theatre (assorted):

2004 A CLOCKWORK ORANGE, by Michel Schröder (Co­conceptualisation, Idea and Video). 2002 In Vain by Anna Viebrock, Schauspielhaus Zürich (Production Design). 2001 Berlin Alexanderplatz by Frank Castorf, Schauspielhaus Zürich (Installations). 2001 Genom Genesis Soloperformance by Lavinia Frey, Gorki Theater, Berlin (Co­ conceptualisation). 2000 Krautflut by Franzobel, Dir.: Michel Schröder. (Dramaturgy, Concept and Video).

Life can be shit if your lover has left you for somebody else, but there is always new hope in the nights of Berlin. (Photo: Black Sheep, InFrame)

ACTORS

Robert Stadlober

He gained fame over night playing the role as a teenager with walking difficulties in Hans­ Christian Schmids cinema hit „Crazy": Robert Stadlober. Born and raised in Berlin he did voice­overs during his childhood. Later­ on he just sent his photographs to a casting agency. His success came pretty quickly. Already in 1995 he starred next to Nina Petri in Sigi Rothemunds Ecothriller “Nach uns die Sintflut"

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and in the family comedy “Benny allein gegen alle". From 1997 to 1999 he co­starred in numerous TV film productions and series with established stars such as Götz George, Ulrich Mühe oer Ann­Kathrin Kramer and decided to drop­out from school with when he was 16 years old to totally commit to acting. He played with Jude Law in “ Enemy at the Gates" by Jean­Jacques Annaud. At the same time Robert is nurturing his second love­ music. Since some time he has got his own band called “Gary” and spends all his free time in the rehearsal room.

Filmography (assorted): 2005 Black Sheep, 2004 Summer Storm as ‘Tobi’ (International: English title), 2004 Felix Ende as ‘Felix’, 2003 Donau, Duna, Dunaj, Dunav, Dunarea as ‘Bruno’, 2003 Verschwende deine Jugend as ‘Vince’, 2002 Sophiiiie! as ‘Toby’ (Nancy boy), 2002 Noch fünf Stunden as ‘Kocke’, 2002 Klaustrophobie as ‘Klaus Kinski’, 2002 Brombeerchen as ‘Andre’ Dir.: Oliver Rihs, 2001 Engel & Joe as ‘Engel’, 2001 Enemy at the Gates Spotter aka ‘Duell’, 2000 Crazy (/II) as ‘Benjamin Lebert’, 1999 Sonnenallee as ‘Wuschel’.

Tom Schilling

Born Wednesday, 10. Februar 1982 in Berlin. He is one of the most talented young actors in Germany. He was approached by director Thomas Heise in his school yard and asked to participate in the theatre play „Im Schlagschatten des Mondes" at the Berliner Ensemble: Tom Schilling. Tom consequently acted in numerous other theatre plays for the following four years. In 1999 Tom Schilling gave his TV debut as hooligan ‘Tucky’ in Ben Verbongs “Tatort ­ Kinder der Gewalt", before appearing on cinema screens in Friedemann Fromms „Schlaraffenland". His character ‘Janosch Schwarz’ in Hans­Christian Schmid’s cinema success „Crazy" starring with Robert Stadlober und Julia Hummer was a hit. He received the Bavarian film award for the best new­comer actor. In the future Tom would like to direct a movie himself. But until then he is working as an actor and attends the John­ Lennon secondary school in Berlin.

Filmography (assorted): 2005 Elementarteilchen, 2005 Schwarze Schafe, 2005 Die letzte Schlacht as ‘Horst Bandmann‘, 2004 Egoshooter as ‘Jakob‘, 2004 Napola ­ Elite für den Führer as ‘Albrecht Stein‘, 2004 Agnes und seine Brüder as ‘Ralf‘, 2003 Verschwende Deine Jugend as ‘Harry‘, 2001 Herz im Kopf as ‘Jakob‘, 2001 Weil ich gut bin, 2000 Der Himmel kann warten Komiker as ‘Jo‘, 2000 Crazy as ‘Janosch‘, 1999 Schlaraffenland as ‘Dannie‘

Jule Böwe

Jule Böwe, born in Berlin, is currently celebrating two cinema successes ­ ‘Katze im Sack’ and ‘Close’. In 1999 she was crowned best new­comer actress for her performance in the theatre production ‘Shoppen und Ficken’ by Thomas Ostermeier, Schaubühne Berlin, where she is part of the ensemble. Since 1997

continuous work at ‘Baracke’, Deutsches Theater, Berlin. Since 1999 member of the ensembles of Schaubühne am Lehniner Platz, Berlin. Guest appearances: Salzburger Festspiele, Schauspielhaus Zürich.

Awards: Newcomer Actress 1998, Berlin City Award 2004

Film/ TV: ‘Black Sheep’, Oliver Rihs, Oliwood Production, ‘Weil ich gut bin’ Miguel Alexandre, ‘Mörderischer Sound’ Polizeiruf HR, Marc Hertel ‘Alltag’, Neto Celic (teamWorx) ‘Ganz Unten, Ganz Oben»’, Matti Geschonnek, ARD, ‘Die Ärztin’,networkmovie für ARD ‘Close’, Sabotage Film für ZDF, Marcus Lenz ‘Katze im Sack’, Florian Schwarz.

Bruno Cathomas

11.10.1965 born in Laax, Switzerland. Education at the School for Acting, Zurich. In 1998 Bruno Cathomas won the German Film price for Best Actor for his performance as ‘Viehjud Levi’. At the moment Bruno Cathomas plays in “Electronic City (Das System 1)" (Tom Kühnel) and in Marius von Mayenburgs “Turista" (Luk Percaval). He has acted in numerous cinematic and TV productions such as the film “Liebesluder", Dir.: Detlev Buck, and has directed „Peanuts" by Fausto Paravidino at the Maxim Gorki Theater. Bruno Cathomas is member of the ensemble of the Schaubühne am Lehniner Platz since 04/05. “Shoppen & Ficken" by Mark Ravenhill (Thomas Ostermeier), in “Goldene Zeiten" by Richard Dresser (Thomas Ostermeier), “Das kalte Kind" by Marius von Mayenburg (Luk Perceval) and “Woyzeck" by Georg Büchner (Thomas Ostermeier).

Theater (assorted): in Basel (“Der Sturm", S. Bachmann; “Die Räuber", L. O. Walburg; “Merlin", S. Bachmann) and Volksbühne, Berlin (“Einsame Menschen", L. Haußmann; “Die Frau vom Meer", F. Castorf; “Rosa Luxemburg ­ Rote Rosen für Dich"; J. Kresnik; “Murx den Europäer ...", C. Marthaler).

Filmography (assorted): 2005 Schwarze Schafe, 2001­2003 NeuFundLand, 1999/2000 Frau2 sucht Happyend, 1999/2000 Liebesluder, 1998/1999 Viehjud Levi, 1997 Weihnachtsfieber, 1996/1997 Not a Lovesong, 1994­1996 Brennendes Herz.

Marc Hosemann

Marc Hosemann was born 1968 in Berlin. He is a member of the ensemble of the Volksbuehne theatre ensemble and stars in many new German theatrical features and TV productions.

Filmography (assorted feature films): 2006 Reine Formsache 2006, 2005 Schwarze Schafe, 2001 Jeans/ 2001/ 1999 The Long Hello and Short Goodbye, 1998 Liebe Deine Nächste!

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Marc Hosemann facing a heroic decision after discovering love during a one­night stand (Photo: BLACK SHEEP, InFrame)

Barbara Kowa eating oysters with severe consequences. (Photo from BLACK SHEEP, InFrame)

Kirk Kirchberger and Daniel Zillmann – two unlucky Satanists trying unsuccessfully to hire a victim for a black ritual in the new anarchist comedy BLACK SHEEP (Photo: BLACK SHEEP, InFrame)

Robert Stadlober (left) and Tom Schilling (right) discussing the program of the new union for unpaid work and its main paragraph: NO STRESS. (Photo: BLACK SHEEP, InFrame)

Jule Böwe and Milan Peschel are united in love – after losing two jobs and a lottery jackpot in the new anarchist Berlin comedy BLACK SHEEP (Photo: Black Sheep, InFrame)

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Grandma’s canary gets a shock through an aspiring young Satanist that never manages to be evil (Photo from BLACK SHEEP, InFrame)

Tom Schilling and Robert Stadlober finding new perspectives in the union for unpaid work (Photo from BLACK SHEEP, InFrame)

Daniel Zillmann, riding the devil’s bike. A young Satanist with a secret fable for Jesus people and his Grandma in a coma. (Photo from BLACK SHEEP, InFrame)

Robert Stadlober (left) and Tom Schilling (right) cutting their home grown phallic carrots. (Photo from BLACK SHEEP, InFrame)

Robert Stadlober discussing anti­Bush politics with a likeminded friend over a joint (Photo from BLACK SHEEP, InFrame)

Irina Kastrinidis as a hooker, stuck in difficult negotiations with Turkish teenagers (Eralp Uzun, Oktay Özdemir, Richard Hanschmann) (Photo: BLACK SHEEP, InFrame)

Kirk Kirchberger trying his best to look satanic cool, before he vacuum­cleans Grandma’s carpet floor again (Photo from BLACK SHEEP, InFrame)

Jule Böwe, a Berlin working class woman, tourist guide on a sightseeing boat, is considering new ways to get money, after her alcoholic boyfriend has lost his job again (Photo: BLACK SHEEP, InFrame)

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