And when “Aimee & Jaguar” came, I said to myself, “No, I won’t do a story about love between two women, because I wanted to do my own.” It was one of those stories that you are always writing - it was already lying there for about five years. indieWIRE recently spoke with Färberböck about lesbians, adaptation and the Third Reich.įärberböck: It was not a script, it was more of an outline of a story about two women, two mothers of Hamburg families, who go on a vacation together and one of them declares her love for the other. Zeitgeist Films released the film at New York’s Quad theater last Friday where it sold out shows, grossing $16,000 for the weekend.

His courage, matched by his talent, has been rewarded kindly with a wide international release and a number of festival awards (including the Silver Berlin Bear for both leading actresses, Maria Schrader and Juliane Köhler). After close to 20 years of writing and directing for TV and the theater, Färberböck decided to tackle a double-taboo in German cinema: a lesbian love affair set during the Third Reich. He depicts lipstick-wearing ladies stepping around corpses en route to the symphony and Jewish women covertly drinking wine at parties after starving all day.īased on Erica Fischer‘s book “ Aimee & Jaguar: A Love Story“– an account of Lilly Wust‘s recollections of her relationship with Felice Schragenheim - this 1999 Golden Globe contender is Färberböck’s first big screen effort. In this true story of an unlikely love affair between two women - a charismatic member of the Jewish underground and a Nazi-sympathizing mother of four - German director Max Färberböck manages to capture the nightmarish nuances of this historical moment.

(indieWIRE/ 8.15.00) - In the new German film “ Aimee & Jaguar,” living in Berlin in 1943 was like dancing an endless waltz on hot coals, with everyone struggling to keep the stink of death at bay.

'Aimee and Jaguar'and Max German Director's Lesbian Adventures

Aimee and jaguar book