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Credits
  • Director: Curtis Burz
  • Producer: Curtis Burz
  • Screenwriters: Curtis Burz
  • Cast: Sten Jacobs, Anna Altmann, Jaspar Fuld, Nina Splettstösser
  • Cinematography: Andreas Gockel, Peter Sebera
Product Details
  • Format: DVD
  • Catalog: ART22
  • UPC: 854555004934
  • ISBN: 9781939196385
  • Number of discs: 1
  • Country: Germany
  • Language: German with English subtitles
  • Rating: NR
  • Year: 2014
  • Length: 95 minutes
  • Audio: 2.0 Stereo
  • Aspect ratio: 1.85:1
  • Color: Color
  • Bonus material: Deleted scenes, Alternate ending, Interviews, Trailer
Gallery
The architect and head of the family Markus Larsen secretly lives out his bisexual tendencies while his wife Christine and their 11-year-old daughter Elisabeth drown in unbearable loneliness. When Markus gets to know the 12-year-old son of a colleague, he feels an immediate affection for the boy. Slowly, Markus begins to approach Johannes and creates an intimacy of which he increasingly loses control. While his wife and daughter are damagingly affected by their symbiotic relationship, Johannes is playing his own secret game which, in the end, leads to disaster for every family member.
Reviews

The Summer House is an intense look at the unraveling of a man…impossible to turn away from.” – DVD & Blu-ray Release Report

“Subtlety, complex characters, enormous tension, a clever psychology and great actors distinguish the very remarkable German drama The Summer House.” – Fipresci, The International Federation of Film Critics

“As uncomfortable as any drama in recent memory, this German production tips its hat to some of the godfathers of art cinema like Rainer Werner Fassbinder (particularly in its casting of leading man Sten Jacobs) and Claude Chabrol (with its thriller-style construction of a family’s internal breakdown).” – Mondo-Digital.com

“Sure to make audiences wildly uncomfortable.” – CinemaSlasher.com

“Watching The Summer House is like watching something like a car crash in slow motion.” – Coffee, Coffee, and More Coffee

“Writer/director Curtis Burz does a good job of humanizing a sensitive subject (a subject that many people find repulsive and reprehensible).” – ScreenRelish.com

The Summer House is a film that wears its controversy on its sleeve like a badge of honor.” – WickedChannel.com

Screenings
2015 - LGBT International Film Festival Poland
2015 - Transilvania International Film Festival
2014 - Achtung Berlin Film Festival
2014 - Montreal World Film Festival
Director Interview

THE AF INTERVIEW with Curtis Burz

AF: Was there a particular event or time that made you realize that filmmaking was not just a hobby, but that it would be your life and your living?

CB: After quitting my job as a therapist in 2000, working for years in a closed ward in a psychiatric hospital, I came to Berlin at a time, where a lot of things were possible. I started to work as a playwright and actor for the stage – film was not even a discussion that particular time. Besides being a therapist, I studied acting and directing based on the east-european method, like Grotowski, Vassily or Stanislavsky. That was a very huge, intense experience, especially, being trained in the ensemble-method. So, working in a ensemble, being strongly connected to all those other members was very important in my artistic and personal life and work. I still like the idea that, for example, an actor is himself a director, developing and rehearsing a scene. I have kept this constantly in my film work: forcing the actors and cinematographer be part of the director’s work. Or at least, let them take responsibility for their creative work.

Creativity is so important. I always wanted to listen to other members, other creative disciplines about their opinion and meaning. And sometimes, some people aren’t used working without regulations. They want a close monitoring by the director with clear indications and guidelines.

So, when you try to work more professionally, when you get more success with festivals or screenings and distributors, the pressure starts and then everything changes. People expect different things from you. Sometimes very unrealistic expectations.

Working in a free-lance ensemble and choosing your own subjects or kind of people you like to work with is a luxury. Since we worked without any kind of funding from the government or the filmmaking institute, we could do whatever we wanted. No one intrudes into the process, expecting a different kind of cast or crew, or exerts influence in the subject and development.

I don’t think, that a film like ‘The Summer House’ would be suited to big funding. So we try to keep the production costs at a very low base.

Well, filmmaking is part of my life and work. I like it and I really enjoy working in an ensemble. It felt right to come to Berlin 15 years ago and start working as an actor, writer and director. I was always full of ideas and still am. But being successful means something else for me. 

I don’t have to get them on screen at any price. It’s still a journey and a decision of the ensemble. Every year the same question: what is possible, when and where under what circumstances. Some of us have a steady income, working in different fields, some are struggling very hard with what they do. There was a time when we are improvised a lot, each of us. I know that a lot of people still do in Berlin, especially the artist or, in my case, filmmakers. There are a lot directors who complete a feature film with less than 1000 Dollars or Euros. It’s very common. And often is the result a very professional one.

So, the competition is very high, since everybody shoots digital.

I don’t take it for granted that a film is selected by a festival – competition or not. There are so many submissions each year that it’s already kind of a success too when your film is selected.  Do you have an idea how many films didn’t have the chance to participate at a festival? I don’t even want to think about that.

AF: Is it harder to get started or to keep going? What was the particular thing that you had to conquer to do either?

CB: For me personally it is harder to keep going. I always have the feeling I start with every film from less than zero. But somehow we manage every year another film, with different problems and circumstances we have to overcome. But in end, we did it and we did it well. Well, according to our possibilities and circumstances. You see, compromises are very important if you work with people from different backgrounds and with different expectations. Some people speak artistically and ethically the same languages, but some don’t.

Each year, each film grows, so does the work. From press relations to the translation of the subtitles. From sales opportunities to festival submissions. Cinema screenings and Q & A’s, travel expenses and hotel, trailer, soundtrack, interviews, websites, posters and press kits. It’s a never ending story … a full-time job. It’s already far away from a hobby now, I would say.

AF: I read that you also work with emotionally disturbed children as a therapist; how did that affect your approach to the film in terms of what type of characters you wanted the child actors to portray?

CB: Working with emotionally disturbed children was years ago. In my very beginning as a therapist I did that. I can say that some of this experience might influences me in my artistic work. Of my experiences as a therapist, the work with adults in combination with their families influences me the most. Dysfunctional families always interested me.

When it comes to working and rehearsing with the children – or the actors in general – on their characters I always – and sounds easy and superficial – let them find their own characters to portray. It is not always MY point of view or MY character I have in mind. It’s something that the actors created by themselves. During the process of rehearsing and shooting. We had a lot of discussions with the ensemble or the child actors. And I try to gave them freedom to find their own way in working on ‘The Summer House’.

As a director I always follow the instincts or impulses of the actors and sometimes they guide me in a very different, unique direction. And, trustingly, I follow. This is the way I was trained in ensemble work. Listen carefully to your actors and crew members. And always work with what people offer you. Not far from working as a therapist, I guess.

It is really a pleasure to see or observe how the actor develop their characters. Or in this case the children. They had their own ideas, experiences which were important for me to bring into the process. And working with the children was, surprisingly, the easiest part of the production.

Also, part of rehearsing is always working with secrets. That means, sometimes I want the actors to work with secrets in their characters without telling anyone. Not even me as the director. When they need some help or guidance, I’ll be there on their side, for sure. But sometimes I gave them two options to choose, directions they might go. And, secretly, they made their decision.

AF: Did your work as a child therapist have anything to do with selecting the topic for this movie?

CB: First of all, I’m not a child therapist. I’m specialized in Geriatric/Gerontology right now, working with diseases like Alzheimer and Dementia. I’m fascinated by the how the brain works:  that you lose your memories, lose your life, step by step. Such a terrible disease with terrible symptoms.

But there might be an influence of my work as a therapist evidenced in my having chosen this topics other topics in my films.

On the other hand, I remember during my study with the Stanislavsky method, my professor told me to go in a cafe, or in a train station, supermarket or any kind of public space and observe people. Just study people and listen to their stories. Listen to their conversations in subways or between mothers and fathers on a playground. You learn a lot from observing people, listening to their own personal stories. Even when you ask questions, people have always something interesting to tell.

So I found out myself that all the good stories, the complicated, disturbing, sad, funny touching stories are out there. Life gives you all you need: just watch and listen.

AF: Did Nabokov’s Lolita play a part in formulating your choice of subject matter?

CB: Honestly? No. Not at all. Though people ask me this a lot, I have to confess that, believe it or not, I haven’t read the book or seen the film.

AF: In your opinion, was the boy an innocent corrupted by the husband or was he manipulating the situation all along?

CB: In my opinion it’s more than that, it’s more grey-shades, complicated. I see the character of Johannes simply as a boy who tried – in a very heroic innocent and childish way – to help his father with his money problems. Sounds simple, I know. But I still believe that, at his age, he hasn’t really a good, realistic view about what was going on between the lines and behind the curtains. He has not really a clue about sexuality, erotic, tension, desire and even intimacy—forbidden or not. He is completely overwhelmed by his own psychological state of mind, by his ability of understanding.

The same goes for Elisabeth: both children try instinctively to protect her families in different ways, when the adults have already abandoned their responsibilities.

So, in his own mind the boy has a idea about himself and Markus, and about what he is doing. But in the end it’s just an idea. Just something he might have seen in a true crime or fictional TV-Show or movie. The boundaries are shifting. Where children should still be children, they will act like adults, or like this, but are hardly aware of the consequences. The same is true for the adults.

That leads me to the question, how is the situation at home between Johannes and his father Christopher?

So, another interesting dynamic has the character of Johannes father, played by Stephan Bürgi. We created his character in a very open minded way – sexual. He seems to have a very strong sexual drive and he seems to have no problems with hiding it. Maybe also at his home, in his bedroom. So you don’t know exactly what his son witnesses every day or night, about his father’s sexual drive with other woman. And children in general witnesses a lot. I left this fragment, this chapter very open – on purpose. Just gave a hint, a possibility.

Another thing that concerns me during watching the improvisation between Markus Larsen and Johannes (Sten Jacobs & Jaspar Fuld) – is the seduction of another person. Markus, father and husband tries to bind Johannes to him in a emotional way, treating him exactly like an adult, giving him the feeling of an equal partner. And later on he pushes him away. Rejects him, after he realizes he crossed the line. This must be very confusing and irritating for a child. And maybe painful. Children mostly react. Instinctively. Even without knowing the difference between what is right or wrong.

AF: You are a collaborator. How have you discovered members of your team and how do you keep the relationship with them strong?

CB: Over the years I have met a lot of people from a lot of different artistic backgrounds. Sometimes I’m lucky and we speak the same language or even have the same ideas about storytelling and filmmaking. If someone interests me I go for it and try to win him/her to the ensemble. I like to keep the ensemble open for everyone who might be right for our method, our ensemble. When it comes to casting calls, I never go through the catalogues. I never watch the showreels. I listen to people, I watch them. I follow my instincts. Waiting for surprises. Good or bad ones.

After a time, you grow with these kinds of people. Working in a laboratory means the door to the outside is closed. There is only one world, when we start rehearsing and shooting. It’s a kind of safe place, where everything is allowed, where everything can be experienced during the rehearsal process. This is the way to keep these relationships strong: kindness, fairness, openness, conditions of trust and discussion.

And in the end, there is always a result. That is important for people to go on. They see that nothing is for naught. Don’t forget that there are so many projects out there which never come to an end, never are finished. People fight or lose their motivation or drive, money is running out… – countless reasons – in our case we finish every year a film and grow.

For example, having two cinematographers on the set sharing their own unique work is luxury on the one hand and on the other it’s the only way to complete the film. If one is working on another job, the other person can jump in.

So, it’s different with each and everyone. Some are highly involved, some just passed by for a visit. Everybody brings in, what she or he is able and willing to offer.

For me it’s also very important to take the ensemble to the screenings to talk with the audience. Or to press conferences, Interviews, receptions and award ceremonies. It gives them the feeling they are involved in something and it works out great. They feel proud and have been seen—which is important too. Without them there would not be any kind of product or film. From actors, to composers or cinematographer. Let them know about it.

AF: The daughter seems to represent the audience in viewing this sordid family drama. Could you explain how that happened?

CB: Elisabeth Larsen, portrayed by Nina Splettstößer, daughter of actress Anna Altmann, is the main character. In my point of view. Personally and artistically. This wasn’t planed from the beginning but watching her creating the character with her own unique intensity, she became the main focus during rehearsing and shooting.

Elisabeth, trying to find her own way in puberty, the transformation from a child into a young female, has the ability to sense what is going on in her family and what kind of secrets are build up around her. Like children do in general. They are very sensitive. But she is trapped. She is in a kind of prison with her unstable, fragile mother who is constantly in pain and almost out of her mind. And with her father, who is desperately seeking sexual pleasures, unhappy in his marriage and life.

But maybe, only maybe, she represents the audience’s viewpoint.  It is kind of simple, easy to identify more with her character than with the others. It’s less dangerous and painful, I guess. She seems, in her role, more innocent, more fragile, more helpless than the other characters. Sometimes, the audience needs one character to identify with or at least someone for whom they have sympathy. I don’t know, I’m just wondering.

In the end, everything comes down to Elisabeth. She can never ever leave the prison her mother has built up for her. She is scared. But like Johannes, she has no comprehension of the entire situation, what she is into and what is going on. She is fighting. In her own childish and overwhelmed way, just like the boy.

AF: What do you consider to be the focus of your movie? Is it the adultery, the homosexuality, the pedophilia or maybe a mixture of the three.

CB: ‘The Summer House’ was always a portray of a dysfunctional family. And always will be. So the focus is more about sexuality in general. Sexuality in all its facets—lived or un-lived—dominates the film. The children experience the vibrations, the fine, subtle, almost invisible moments that take place.

The adults can barely control their behavior, their desire, let alone to reflect upon them.

‘The Summer House’ is just an uncomfortable, disturbing film. A film about the disappearance and dissolution of childlike innocence, where the shelter ‘family’ already offers no protection, but rather attack, defense, neglect and confusion.

I don’t even see ‘The Summer House’ as a typical gay-themed movie.

Perhaps at the end of the film Elisabeth only eliminates the possibility of an innocence that is no longer there in any case, but after two years, I see ‘The Summer House’ differently than I did during filming. I don’t know if I would have done it the same way if we were to start filming tomorrow.

AF: The character of the boy is remarkably mature for his age? Is that because of where he lives – are such controversial topics less demonized in Europe than they are here in America?

CB: Really? I don’t know. Honestly. It’s the way, Jaspar created the character with his abilities and his personal background. He is a very fine young man, grown up in a respectful, healthy family and environment. I know his parents very well. Maybe it’s the manner of their education that makes him (Jaspar) and his character Johannes seem so mature. I still believe that every actor or actress brings her own personality in the artistic work. Its possibly the only way to give the character something truthful and realistic. Jaspar has been part of the ensemble for a very long time now. If I had cast another actor instead, the character and the dynamic of Johannes would be different, I guess.

Jaspar’s presence in front of the camera is huge. Also Nina’s. From the moment we started filming, the children looked suddenly very grown up. It was a big difference between their behavior during breaks, rehearsals and filming. I believe that none of us expected that.
In the interview, by contrast, Nina and Jaspar acted much more quiet, almost shy and very reserved. Interesting to see.
But, watching the final scene with Jaspar and the family, I asked myself if Jaspar or Johannes really, really knows how much money he is asking for. Does he really know how much money it is in general? Sometimes it seems, he isn’t aware of anything that is happening in that scene. He is trying to act like an adult, hiding, and not realizing that he’s still a 12 year old boy.

So, controversial topics like this, especially sexuality or intimate issues in families in a very cruel or uncomfortable way, might be slightly demonized everywhere. Especially when children are involved.

 

I remember the screening in competition at the Montreal Film Festival: a huge line in front of the cinema, a very long and intense Q & A afterwards. The Canadian audience was so interested that the festival, singularly, scheduled  another screening for ‘The Summer House’.

It was a very intense experience for all of us. First of all, I think it was a courageous decision by the festival programmer to place ‘The Summer House’ in international competition. We had a lot of guidance and contribution by german films representiv Dennis Ruh, who represents germans films in competition at international festivals, which was great. Even you know, this controversial topic, including such strong inner-sexual-family-issues like in ‘The Summer House’ will never ever have a real chance to win a prize – and the pressure is totally different when you’re in competition – it was a huge success. For us, the ensemble and the audience. But I remember also other situations, after festival screenings, where people treated or looked at me differently.

But in the end, you make films for the audience, right? We always did and always will be. And the audience were grateful that we showed no really intimate scenes. That’s what they have said very often.

This leads me to the question, how we live our sexuality nowadays? What does sexuality exactly means for young people or teenager? When they have internet access to every porn-site on the globe, watch different facets of sexuality without limitation.  People start uploading their private fetish and sex sessions and there you can find any kind of sexuality you can ever imagine. Which is OK. No judgment here.
So, it’s completely different to the time I was a boy or teenage, dealing with my own puberty. I’m lucky grown up in the 70′ and 80′. I would not want to change places with the children nowadays, the way they grow up today.

And don’t forget: it’s you, an American distributor who selected ’The Summer House’ for distribution. It has no German or European distributor so far. Most of them have, at this point, rejected the film and topic. People from all over the world, especially from Europe and of course Germany, are asking daily about the film release outside the US. By the way, we’re working on that already.

Recently, I was talking to some ensemble members and we think about releasing a Director’s Cut for european market. But nothing has decided yet.

AF: What films have been the most inspiring or influential to you and why?

CB: I don’t work that way. Or, it’s not really working for me. I don’t watch movies very often. I did, when I was younger, but now I mostly see the films which Festivals programmed. There are many excellent films with their own, unique handwriting, films you never ever see on TV or at the cinema. But some festivals offer a wide range of interesting topics and often with a controversial point of view.
So, I can say I am influenced by life in general, by people I have met personally or in combination with my work.

But of course there are films that have left a mark on me, or have inspired me on my way. As an actor I was completely blown away by Marsha Norman’s ‘Night, Mother,’ directed by Tom Moore, starring Anne Bancroft and Sissy Spacek. This play/film influenced me a lot. I have always loved the symbiosis between theatre and film. Filming in one single location and concentrating on two (or more) actors.

For some good reasons, ‘Dogville,’ by Lars von Trier kept me occupied for many years. An excellent movie which told me a lot about life and dynamics between people.
When I came to Berlin I saw ‘Sue,’ by Amos Kolleg, on a cold November night. It was my first film after I arrived. This strong portrayal of loneliness really hit me in the face.

Also, very interesting is the early work from William Wyler: ‘The children’s Hour,’ based on a play by Lillian Hellmann.

Interesting film, but I didn’t think about it during making this film. Actually, I haven’t thought about ‘The children’s hour’ for years now… but you know how consciousness works.

AF: Was there a personal event that made you want to tell this story, or did you just dream it up from scratch?

CB: There weren’t any personal effects, memories, at all—not a single, slight, biographical event. I’ve got this question a lot. It just came two me or us two years ago and we started to develop the story and dramaturgy during shooting and rehearsing. The idea of ‘The Summer House’ was born after talking to leading actor Sten Jacobs. We were discussing what we would do next and I introduced him two treatments. He agreed to take the part of Markus Larsen. I always wanted to see Sten in a much bigger role. So I thought, the father figure in this film would suit him perfectly.

It’s different with ‘Give me another year’, which we produced in 2012. A portray of the new poverty in germans middle-class. A film about a father, who can’t afford life and living anymore, isn’t able to pay the aliments for his boy. He is forced to extreme situations to overcome the poorness. That was a very personal work, involving very personal situations. By the way, it was Jaspar’s first leading role in a feature film, who played my son in ‘Give me another year’. After this film the decision was made for Jaspar, to work as an actor professionally. Besides school course. He began to take acting classes, applied for castings and in the current production ‘Everything we had,’ he has grown a lot personally and artistically. I hope he will stay with acting.

But in the end ‘The Summer House’ it’s just a film we made two years ago. The summer is over, the house is left alone and we’re already occupied/dealing with another family story.
 

AF: Nice touch having the husband and wife speak completely different languages – how did you come up with that? (Why did the female family members speak English to each other, but German to the father)?

CB: First of all, most of the audience think that Christine is English, not German. This isn’t really the truth. She is German but she tries to prepare her daughter for the English boarding school. Obviously. Superficially. But there is more behind that, of course. In fact nothing that really matters  is said aloud.

Language becomes a hiding place and remains dangerous. It is easier to build up a wall—in this case with language—instead of really communicating. It’s a symptom. And it concerns only the character of Christina Larsen. Christine already hangs on the emotional needle of her husband/is already co-dependence on her husbands emotional puzzlement. All that remains to her is the half-hearted education of her beautiful, almost angelic, young daughter. Maternal instincts and defense mechanisms seem to have vanished long ago. Christine feels secure with choosing another language. It’s like choosing another identity or life. She is playing a character. An educated, well mannered character. Anna and I discussed a lot about her character. She captured instinctively a lack of intimacy and sexuality that is so strong that she’s no longer able to control anything. Instead of running away, or guiding her daughter into puberty, she is focused upon her husband and getting any kind of emotional or physical attention from him. She is really hungry for love and intimacy. But she is trapped. Everything she does is self-destructive. She, in my point of view, is the most painful character in the film.

On the other hand, I always use what people offers and bringing to the artistically process. Actress Anna Altmann and Nina Splettstößer are mother and daughter in real life and one day I saw Anna Altmann talking to her daughter Nina in English. They had a normal conversation in English for one simple reason: practicing English for school.

So I just stole this truth event for my script and for it worked perfectly.

AF: What failures (of your own) have you been able to learn from in your filmmaking experience? How did they change you and your process?

CB: In each and every single film I have little episodes, failures. You always work with people and people are unpredictable. Some of them have their own special interests and you have to find a compromise. So, failures are part of my daily work. I don’t like them but they’re there. Deal with it. Sometimes you win, sometimes you lose.

That’s life, isn’t it?

AF: It’s often really hard to reconcile the difference between what we desired and what we achieved. How have you encountered this and how do you move through it?

CB: Hope the best but have reasonable expectations. Always. I know, it’s hard. But stay realistic. That is important to me. And always see the little steps, you’re making with yourself and your work. If you don’t get what you desire or if you are disappointed, move on. Say goodbye to people who do not wish you well or act stubbornly, or only for themselves. There is nothing you can do.

Personal or professional disappointments happen every day. Walk on, as there is always a new day and new people, upon whom you can rely.

 

AF: When do you know a script is ready to shoot, and what is your process of getting it there?

CB: We don’t usually have a typical script. In the beginning there is always a idea. A storyline. A synopsis. And little by little the story grows and I develop a good treatment of it by the end. This is how we start, with a treatment. But I like the idea of changing things. Being influenced by members of the crew, by productions circumstances, by life. There is always room for changes in the script, in the characters. This is how the process stays alive. I like to work this way, improvising from the beginning till the end. Of course I start with some structure;  some scenes that are already worked out and set down on paper. But sometimes scenes don’t go the way you planned. As a director, I like to stay open to this process. I like watching actors in their work and sometimes I see them in a completely different light. Then I go with them. I wanted to be guided too.

Like in our new film ‘Everything we had,’ we had the chance to rent a complete house, near the woods, for 10 days. Together, we rehearsed, shot, lived and worked for this entire period, without any kind of breaks or leaving the set. This house also became an acting partner, in a manner similar to a laboratory experiment. I think we all enjoyed the possibilities this afforded for quality work. When you live and work an your location, you are inspired every minute. This kind of openness was very important for all of us. Ideas are coming, just give them time and space.

A lot of treatments, ideas, lying on my table. Waiting to be rehearsed and shot. But for every subject I choose, the right time will come.

It depends on so many unpredictable circumstances. I’ve learned it’s good to wait for the signs. I would never, ever work on project for 3 or 4 years when there is, in the end, no chance to realize it. This happens very often. Keep your project small and simple. Try to be independent. If it’s time to grow, you’ll grow.

 

About the Director

My beautiful picture

Curtis Burz was born in Mediasch, Romania in 1970 with his family emmigrating to Germany when he was a child.  He studied psychology as well as acting and directing at the Bremen Theatre Institute. His films include the shorts: Mark Morrisroe – Polaroids 1959-1989 (2002), Kurt Donald Cobain – Suicide Note (2005), Dear Writer, Dear Actress (2005), Educated People (2006), Virginia (2006), Adoleszenz (2006), Homeland Stories (2010) and Will McBride – Boy Stories (2006-12). His feature films include I Never Told You What I Do for a Living (2011), Give Me Another Year (2012) and Nora (2013).

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Credits
  • Director: Curtis Burz
  • Producer: Curtis Burz
  • Screenwriters: Curtis Burz
  • Cast: Sten Jacobs, Anna Altmann, Jaspar Fuld, Nina Splettstösser
  • Cinematography: Andreas Gockel, Peter Sebera
Product Details
  • Format: DVD
  • Catalog: ART22
  • UPC: 854555004934
  • ISBN: 9781939196385
  • Number of discs: 1
  • Country: Germany
  • Language: German with English subtitles
  • Rating: NR
  • Year: 2014
  • Length: 95 minutes
  • Audio: 2.0 Stereo
  • Aspect ratio: 1.85:1
  • Color: Color
  • Bonus material: Deleted scenes, Alternate ending, Interviews, Trailer
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