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from II - The Second Wave
Published online by Cambridge University Press: 05 December 2013
I do not think that one can determine the political relevance of a film according to whether or not it deals with a political topic. For me films are political—independent of theme and its story—if they attempt to describe the world with inexorable incorruptibility, without lulling one's own suspicions or that of the viewer. … This is very political because the filmmaker hides less behind a façade and instead permanently interrogates himself and his worldview and involves the viewer in this process.
—Christoph Hochhäusler, “Interview mit Benjamin Heisenberg zu Schläfer”Born in tübingen in 1974 into a family whose best-known member, the German theoretical physicist Werner Heisenberg, formulated the famous “uncertainty principle,” Benjamin Heisenberg studied freie Bildhauerei (sculpture) at the Akademie der Bildenden Künste in Munich (1993–99) before enrolling at the HFF München in 1997 to study filmmaking. To this day, Heisenberg sculpts and also paints and creates video installations, and since the mid-1990s he has regularly exhibited his work in German art galleries. He graduated in 2005 with his first feature film, Schläfer, which followed a number of shorts, including Terremoto (1996), Alles wieder still (1998), Am See (2002), and Die Gelegenheit (2004). Schläfer premiered in 2005 together with Hochhäusler's Falscher Bekenner at the Cannes Film Festival in its Un Certain Regard sidebar and subsequently won the director the main prize at the Film Festival Max Ophüls Preis in Saarbrücken—one of Germany's most important film festivals for new talent.
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