A film review: "Illusion" [2013 Germany]

Roland Reber, no stranger to controversy with his persistent recourse to eroticism, continues his exploration of human behaviour and their secret desires through his latest drama "Illusion".





The film incorporates several of Reber's pet themes like lust, nymphomania, greed, and entitlement, that lay lurking behind people's respectable façades. The illusion they represent, and delusions that they harbour, are at the centre of the film's concerns. But it also acknowledges people's justification for the illusions that they create about themselves, before making a concerted argument against them.

Three conventional couples and two singletons are taken from their surroundings and placed inside a bar - to mingle, interact, and fantasise. The premise is vaguely reminiscent of Luis Buñuel's 'The Exterminating Angel' in the way the director places his 'subjects' in a glass cage of their own making and observes them with amusement as they suffocate. The difference here however is the film's quasi-prophetic tone, and the fact that one amongst the eight bar-guests is also doing the observing.

He captures images of guests with a mobile phone, ostensibly for his Facebook page - he, who himself lives in an illusionary world of 'friends' and 'likes', is also the most detached among the lot. The bar itself is intended as a metaphor, as a halfway place where mask-wearing illusionists are given a reality-check, just as the social networking site also represents imaginary social mobility. It's plain to see that the couples have turned up at the bar looking for some excitement in their otherwise dull lives, but when they find it, they simply couldn't enjoy it as much...

Appreciating Illusion, and director Reber who also plays God in the film, requires a disassociation from conventional narrative - while events take place linearly, individual fantasies and visual metaphors are also inserted in between, and it will not always be apparent as to whose fantasies they represent. As in his other films, the comedy drama liberally quotes from the Bible whilst simultaneously indulging in the erotic.

Apart from the usual cast who double-up as crew (or vice-versa in some cases), the film also introduces a new member of the WTP stable, cast in a stellar role - the fresh-faced, young, and a rather cute Carolina Hoffmann. Multi-faceted Antje Nikola Mönning, apart from playing a bored housewife with wanton desires, is the film's music director, and whilst she shares production duties with Patricia Koch, Marina Anna Eich, and Roland Reber, is also credited as the assistant director. The film, as it stands, might have its little foibles - its overindulgence on special effects and a fixation with gaudy lighting being just two of them, but it is an altogether well rounded and presented feature along the lines of The Dark Side of Our Inner Space, with the exuberance of 24/7 The Passion of Life. It is Recommended Viewing..!

Amazon.de DVD Link [PAL] | Amazon.de Blu-ray Link | Official Trailer and Website

 

The Nudity: Marina Anna Eich, Antje Nikola Mönning, Carolina Hoffmann, Wolfgang Seidenberg, and others
The film contains intermittent nudity and sex - some explicit. A heady scene in particular, features a restrained Antje Nikola Mönning being groped and fingered by masked men who later form a queue to take turns with her character. Marina Anna Eich briefly appears nude in a couple of scenes - she plays a married woman with lesbian feelings, and newest member Carolina Hoffmann also appears nude in a number of scenes.



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Marina Anna Eich - a thirstyrabbit interview

For someone regarded as one of Germany's most beautiful actresses, Marina Anna Eich isn't as widely known outside her home country as she perhaps should. She works predominantly in independent films, and apart from her acting talents, she is a producer at maverick director Roland Reber's film company, WTP International, and also its PR Manager, in charge of production and marketing. In an exclusive interview with this blog, Ms. Eich shares some of her thoughts on her latest film "Die Wahrheit der Lüge" (The Truth of Lie), her work, and attitude to life.

 

An interview with Marina Anna Eich

Photograph © Catherina Hess

 

Let me congratulate you on another fine performance Marina. You had a nasty accident just before this film's production. I do hope the finger is now fully healed and well-set. It must have however been quite uncomfortable during the shoot - did this hamper you in any way?

My accident was in April 2011. The shooting began in August. The healing went very fine and while acting I almost didn’t notice that I was handicapped with a shorter finger. Fortunately there was not much pain to distract me. I was lucky as it could have been much worse.

 

"The Truth of Lie" - an intriguing title. How did you see this film as an artist?

All our films have different levels. For me, this movie can be interpreted in many ways. For example: Both of the prisoners stand for two human opposites. The publisher symbolizes destiny, who is testing all of them, intervening with advice in a tough and ruthless but supporting way, and holding the reins. The author is a mix and stands between both of them, as a kind of mediator who wants to help the two prisoners in a special way, e.g. learning to see behind words, telling the truth. But he too is being tested by destiny.
The film also is about being inconsiderate and not thinking about consequences. The women are acting without considering the consequences as they simply agree to the experiment without thinking of the outcome. The writer is inconsiderate as he neither has prepared himself, nor the experiment: he doesn't know what “reaching the top” actually means. Only the publisher isn't inconsiderate. There are some more levels but we want the viewers to find out for themselves and interpret in their way. Even I myself haven’t seen all the levels that exists in the film.

 

I could find similarities - at least in the usage of BDSM elements, between this film and Reber's earlier "The Dark Side of Our Inner Space", one in which you again were closely involved. Not many films delve into the world of BDSM - at least not since the 1970's in any case. Is this a key area of interest for WTP, or perhaps a prudent approach to fill an existing void?

I wouldn’t say it is our key area. All our films tell different stories, but surely deal with the big questions of humanity. It depends on the story and subjects we want to tell. Yes, Sexuality is one of the fields which we showed in “24/7 the Passion of Life” and “Angels with dirty wings”. As for me I don’t think about BDSM elements in “The Truth of Lie”. Especially the torture scenes - they're more an attempt of the author to bring the two women over their limits, to make them feel helpless, to disrobe them mentally and physically. It is not a mutual agreement (really dealing with the person and action they do together, as you can find in the BDSM-scene).

 

This film also depicts practices like water-boarding, a taboo after Guantanamo. Do these scenes have a political subtext?

All WTP films are team work. Roland considers all involved as artists who define their role themselves. He leaves a lot of space for us to bring in our own ideas. Not just the actors, all other aspects like camera, light, set-design, etc., as well. This creates a great atmosphere during the whole film process and everyone see themselves as a big part of the film.
As for the torture scenes it was up to the actors to make ideas and to develop them. Lots of them are archetypal symbols, they show primal fears. Especially the water-boarding scene, which was my personal borderline experience. Because of the gag reflex one psychologically gets the impression of drowning immediately, in no more than a few seconds. I wouldn’t have thought that the fear of death would come so quickly. Now I can understand why this kind of torture leads to the desired result in less than a minute.

 

Unlike WTP's earlier projects, this film is centred around a male protagonist, even if it is to offer a critique. Was the characterisation and screenplay preconceived or did it evolve during the film's production?

The first idea was to take the story of an earlier theatre play by Roland. Roland, Mira, Antje, Christoph and I sat down together and made some brainstorming. Everyone added their ideas which Roland wrote afterwards into the final script. So only the basic storyline of the play - a man holding two women hostage, remained. During the shoot, additional ideas came (some spontaneous) which we incorporated into the film.

 

I couldn't help noticing the unusually long scenes of nudity in the final cut, particularly from yourself. Is it because you are now more comfortable acting with your body than before, was it because you were more at ease with the crew, or was it all purely Ms. Gittner's editorial decision?

As far as nudity is concerned I have always been comfortable with nude scenes. For me nudity is something very natural. It all depends on the reason for a nude scene. Both of the imprisoned women live through different tortures, naked, so that the author, he feels, could lead them to the top. But nudity is not related to sexuality here. In “The Truth of Lie” for me it is a symbol of purity, an expression of clarity. Being tortured naked is more mortifying, one feels even more helpless.
As far as the cutting is concerned it is the creativity of Mira. She is completely free in the editing process. From time to time the inner circle of WTP (Roland, Mira, Antje and me) sit together to watch the film's development, making proposals here and there, but the composition of music (which is an important element in our films), the rhythm of the film and the length of the scenes is Mira's creation.

 

Playing a victim and the protagonist's subject, this is also your most serious and least glamorous role to date. Do you see yourself as an actress ready to take on even more challenging character-roles?

Every role has something special within. And I am very happy that in each of our films I have played different characters. This role was indeed my most challenging one. The character is very calm and steady and tries to act in a considered way, in a very difficult situation, of which the outcome is uncertain and which could end up in death at any time. A character which isn’t at all corresponding to mine. In such a life threatening situation I would rather slip into hysteria. I am very curious as to which character I will perform in our next film.

 

Tell us a bit about audience reactions to the film during the recent festivals.

After having premiered at the renowned “International Hof Film Festival”, we accompanied “The Truth of Lie” through Germany on our Cinema Tour. The reactions were differing and we had very interesting discussions.
For some it was very cruel (one lady even said why it had to be necessary that the film only consists of torture scenes – but if you count those scenes you’ll be surprised how few they were compared to the whole film). Some said the film is quite tame and they would have liked it crueler. Many people thanked us for giving them something to think about their life. Another spectator compared the cellar to his head, the two women and the author inside, the chains symbolising the chains of society, family…

 

Are you currently working on any new projects? What can we next expect from the WTP stable?

We have many subjects we would like to make a film about, but which of these will be the next is not clear yet. This much is certain - next year there will be a new WTP film.

 

Is there a message you'd like to convey to your adoring fans in this blog (trust me - there are a few)?

I am happy to hear that our films get attention through your blog.

People see several messages through our films, so if you enjoy them please recommend them. I would also like to quote from our film “24/7 the Passion of Life”: “Society likes to have standardised people. They obey more easily. But can emotions be standardised? Who puts forward these norms? Who standardises us? Who is living our life? Most people just exist, but they are not the living. Live YOUR life!”
I also like the following sentence: "If you want to change something in your life don’t just talk about it, do something about it."

 



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Marina Anna Eich & Julia Jaschke in "Die Wahrheit der Lüge" [2011 Germany]

After the wacky and outrageous Engel mit schmutzigen Flügeln, Roland Reber returns to his pet theme of forcing people into unnatural surroundings and watching them respond. His eagerly anticipated "Die Wahrheit der Lüge" [Eng. Title: The Truth of Lie] could be seen as an extension of 'The Big Game' played out in The Dark Side of Our Inner Space.

Storyline:
Two women - 'the Courageous' and 'the Hesitant' are hired by 'the Writer' (who we never see write a single word) as part of his research into the limits of human tolerance beyond which their spirits would break. He sets about by imprisoning them in a disused factory and subjecting them to various forms of torture. The project is funded by an uncompromising publisher who is keen to see some worthwhile 'results', and she is ready to do whatever it takes to reach its purpose...

I have two main points of criticism for this film. Unlike Reber's earlier works, the protagonist here is a male - the Writer. And for it to work, the characterisation must not only be well defined than the male characters in his other films, he must also be adequately obsessed with his quest to the point of making him appear almost menacing to his subjects. Unless Reber intended to explore the women's secretly held desire to be 'controlled' by someone, which I doubt, this film requires the Writer to propel the drama, and Christoph Baumman, as likeable a chap as he is, unfortunately doesn't cut the mustard. The other let-down is the lighting and needlessly wide camera angles which are at odds with the claustrophobic atmosphere the film is supposed to recreate, at least for the first half of the film. Was it because they got carried away with the awesome set - I don't know, but it certainly doesn't add to the narrative. It may work for theatre, not so for cinema. It also isn't helped by the fact that this film was shot in HD - the level of detail presented makes the incongruence all the more jarring.

There are however several fascinating topics that the film tries to explore - are we really in control when we think we are, is there a truth lurking behind a lie, can people endure unpleasant experiences for longer if they are made aware of when it will end, etc. But the idea of getting willing subjects to reach 'the peak' - the limit beyond which they would break down, promises more than it actually delivers, as the attention gets diverted to the 'big game' planned by the protagonist's publisher. True - if an advanced state of depravity needs to be explored thoroughly, Reber may have to go all the way and take the film into the horror genre like Pascal Laugier's Martyrs.  That's ironic - because unlike that horror film, the actresses in The Truth of Lie actually go through some testing procedures for real, whether it is waterboarding, getting locked up in confined cages, or being restrained to spanking benches - Roland Reber certainly is one of the few directors in cinema to seriously peruse BDSM practices as part of their narrative these days. It is therefore reasonable to assume that one cannot possibly expect any more from these actresses than what they've already delivered, because they experience it themselves. The 'court' scene towards the end is a crucial part of the film, where the Publisher takes on the role of judge, jury, and executioner - it is well performed, but perhaps I may have lost some of its nuance through the translated subtitles.

To summarise, this is another experimental project by Roland Reber, and he succeeds once again in stirring mixed emotions among critics and viewers alike. While I may disagree with several aspects of this film, nothing could take away its sincere attempt to push the boundaries as Reber had always done. And for that in itself, Long Live Independent Cinema..!

WTP International certainly know how to make films with limited budgets - just as well because they're resolutely self-financed. Not only was this film produced in record time, to its immense credit it also utilises its resources quite creatively. Newcomer to WTP Julia Jaschke gives a sincere performance as the Hesitant, while the lovely Marina Anna Eich takes on her least glamourous role to date as the Courageous - she gives it her all with total conviction. However, I couldn't help feeling she was perhaps underutilised, even if a touch overexposed - the film features prolonged scenes of nudity even by Reber's standards, particularly from Ms. Eich, even if none of them are particularly pleasant. The 'Making of' snippets indicate they were actually nude in several more scenes that didn't make the final cut. We also get to see a different side to Antje Nikola Mönning - while she played the capricious Lucy in Angels with Dirty Wings,  here she's the cold and calculating Publisher, but every bit as outrageous.  Ms. Mönning also dons the mantle of Assistant director apart from sharing production duties alongside other members of the WTP 'gang' - Roland Reber, Marina Anna Eich, and Patricia Koch (who by the way really ought to be in front of the camera as well).

Official Site

Amazon.de DVD

Amazon.de Blu-ray

 

Compilation: Marina Anna Eich and Julia Jaschke
Taken from portions of blog-related scenes - they're actually significantly longer in the film. The disc (both DVD and blu-ray) also includes several deleted scenes, an alternative ending, the making of, and some festival interviews.



Scene Guide:

• The newly hired subjects - the Courageous and the Hesitant, are asked to change into their prison uniform - they've after all agreed to become the Writer's slaves for the next five days. Played by Marina Anna Eich and Julia Jaschke respectively.
• The sessions begin - a series of scenes where the Writer gets to work on each of his subjects individually to try and break them down. The Hesitant appears to be the more fragile of the two.
• The five days pass, and they're still held prisoner - and the Publisher, played by the inimitable Antje Nikola Mönning explains to the subjects that the rules of engagement have changed. For their own survival, they're henceforth ordered to obey the Writer's every command.
• The Writer with the Courageous on a crucifix. He asks her to frankly admit what she thinks of him, claiming that only those who tell the truth could be trusted. She tells him that he is a pervert and an a*shole, who just enjoys torturing women. He replies that there is perhaps a hidden truth behind her words.
• A long conversation about 'Love' between the Writer and the Hesitant held in a cage, and for a moment the film almost veers off on a tangent.
• Puppetry - the Writer's style - and his way of humiliating his subjects..!

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Marina Anna Eich & co in "Mein Traum oder Die Einsamkeit ist Nie Allein" [2008 Germany]

With an intriguing title for Roland Reber's 2008 film, "Mein Traum oder Die Einsamkeit ist Nie Allein" [Eng. Trans: My Dream or Loneliness never walks Alone], one would've expected to be taken on some kind of existential ride exploring human nature on the lines of Antonioni's 'L'Avventura". Well, I was any way. But what we see is an experimental exercise in mixing various motifs by bringing the stage to the screen.

I assume Mr. Reber was trying to reach out to a younger 'mainstream' audience with his cut-and-dry theories. In his customary style, he uses a detached character to comment on the protagonist's state of mind. Here it is the androgynous Godot - a scavenger making a living off the city's sewer system, who unravels the protagonist's confused state of mind and in some ways acts as his guardian angel.




Storyline:
A man leaves his wife, family and friends and walks off with his suitcase not knowing what he wants to do next. He bumps into some characters who'll reappear again during his night of wanderlust in company of the affable Godot (played by Mira Gittner). He will relive conversations with his parents, wife (Marina Anna Eich), and mistress (Sabrina Brencher) among others as he reassesses his life. Knowing that the man is contemplating suicide, Godot will try and explain why people do and say the things they do.

The story apparently was inspired by a real event concerning an old man who threw himself off a bridge, suitcase in hand, onto the carriageway below. It is an unusual addition to Roland Reber's filmography, as I believe this is primarily stage play material, may be even a musical. While I have no problems at all with what Reber is trying to say, I'm not sure to what extent people today might relate to the 'traditional' characters portrayed here. But it is witty in places, and we get to see a different kind of character played by Ms. Eich. As usual, you have cast members doubling up as crew - Mira Gittner handling cinematography and editing, with Marina Anna Eich and Patricia Koch in charge of production.

Official site and Trailer

Amazon DVD Link

Dialogue Sheet in English

Compilation:
Sabrina Brencher, Marina Anna Eich, Patricia Koch, and Martina Schölzhorn
The film contains only brief scenes of nudity which is largely used for comical effect. This post also coincides with the German theatrical release of WTP International's latest film, "Die Wahrheit der Lüge" aka "The Truth of Lie".



Scene Guide:

• Our protagonist summing up what his mistress means to him - love, faith, hope, and farewell. The mistress is played by Sabrina Brencher.
• We now get to hear how the mistress sees her relationship with him...
• A bizarre scene where the wife tries to open up to hubby's best friend, but who on the other hand seems more keen to perfect his tasteless jokes. The wife is played by probably the fairest among Bavarians, Marina Anna Eich.
• Some additional snippets from the film where we see Reber appearing as himself and cuddling up to a couple of 'bunnies' - Martina Schölzhorn on the right, and the stunning but 'visibly' underused Patricia Koch. I wish we get to see her fill the screen for a little while longer..!
• Well she does, if only briefly - with fellow bunny Martina when the TV presenter gets ready for the next take.

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A Tribute to Marina Anna Eich

Wishing all you guys a Very Happy New Year..! :)

And why not we start the year with a celebration, to one of the most beautiful and multi-faceted actresses from Germany, Marina Anna Eich.

Apart from being a talented actress, she's a film producer, spokesperson and PR Manager, and had been a member of the Jury at several film festivals. Through my interactions with her, apart from coming across as a knowledgeable and diligent professional, she strikes me as a genuinely kind and warm-hearted person. A beauty both on the outside and from within had to be celebrated, and even though this tribute may focus overtly on the physical in keeping with the blog's theme, I had to say it had been a pleasure to get to know a person more than her characters reveal on screen.



The Tribute:
The compilation covers most of her films with WTP International:
- Dann nenn es halt Liebe
- The Dark Side of Our Inner Space
- 24/7 The Passion of Life
- Mein Traum oder Die Einsamkeit ist nie allein

The soundtrack is from Wolfgang Edelmayer's awesome title, "Du fehlst mir sehr", taken from his album "22/6". I had run this tribute past Ms. Eich before posting it and her feedback has been quite positive, but let us know what you guys think as well... :)

Download Links:


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Marina Anna Eich, of Lust, Pain and Passion [from Süddeutsche Zeitung]

It was interesting to read a recent interview by Marina Anna Eich. Thomas Anlauf, writing for the largest circulated German daily "Süddeutsche Zeitung", unearths some interesting facts and anecdotes from her life, as she opens up candidly about her childhood in Bavaria, her dreams, and her eclectic but thoroughly modern career. You'll also uncover the mystery behind her bandaged right middle finger when you see her in the forthcoming film, "Die Wahrheit der Lüge". Here's an English translation of the article, which I bet you're unlikely to come across elsewhere - I've also inserted below a scanned pdf of the original article for those who can follow German. Read on...

« Original article




 

Translated from German..! ;)

Lust, Pain and Passion

Between Passion play and Eroticism: the career of actress Marina Anna Eich

It sounded like a piece of wood in a chipper. A short sharp crack. But they were fingers that had got caught in the rotor blades of a lawnmower accidentally, this summer. Marina Anna Eich takes the brown bandage off her right middle finger: the first phalanx is missing - the ring and forefinger could be saved at the hospital in Murnau. She has beautiful, delicate hands. Eich plucks a bit at her bandage and says: “That’s a part of me now.” The one which isn’t there any more.

Two weeks after the nasty accident she went to Cannes all the same, to the German reception at the Film Festival. She wore 3 thick white bandages then and had to tell what happened at home, on the lawn of her old farmhouse near Lake Ammersee. They called Marina Anna Eich “The finger” then.




Nude pictures – some ravishingly beautiful, others disturbing.
She doesn’t get too much attention in the film scene usually. Although the 33 year old actress has acted in more than a dozen films. Furthermore, she’s a producer in the small film production company WTP International under rebel director Roland Reber. In addition to being Reber’s PR Manager, she’s also in charge of DVD production and marketing of the Label. She appeared as a model in the Bravo, also twice in Penthouse, she says, sweeping her fingers over her iPhone. With a flick of her fingers photographs appear, nudes. Some ravishingly beautiful, others disturbing. Marina naked as a witch with a hat; lustfully riding a broom. Eich as lust incarnate; the head of a doll rests between her wide open legs. Pornography? “What is pornography even?” she says “It’s sexuality, eroticism, nudity – something natural”. Her films also all relate to it. To lust, passion and pain.

“The truth of lie” is the new movie with Marina Anna Eich, which is once again from the no-budget-production of Roland Reber. An author (Christoph Baumann) keeps two women – Marina Anna Eich and Julia Jaschke - imprisoned in a labyrinth. He tortures them in a bizarre way, trying to drive them towards a borderline experience.

The Movie has its premiere on October 28th at the Hof Film Festival which will open this Tuesday. And it’s in line with Reber’s film world which carries a symbolism reminiscent of an incense-laden Hindu temple. “It is a tough film” says Marina Anna Eich and sweeps a strand of blonde hair behind her ear. “Merciless and full of symbolism”, she says. Saying so her shining blue eyes look as if she was talking of a flower field in Oberammergau.

She grew up there, in the middle of the mountains. Her father still owns a wood carver’s shop there, the next house one and a half kilometers away. As a girl Marina participated at the Oberammergau Passion Play. A Life, “a dream for every child” she says. Later she discovered her passion for dancing. Her ballet teacher in Oberammergau tells her about a distant city, Leipzig, where she could learn to dance properly. The 15 year old Marina went there. And danced. And suffered. Because the teacher talked down the girl from Bavaria. She had “mashed cabbage legs”. Marina put her finger down her throat and soon weighed only 48 kilos. Somehow she managed to leave. She completed middle school along the way, went to Frankfurt at the Academy of Music and Performing Arts. And danced. But it wasn’t easy. Increasingly, she was plagued by back pain. The orthopedist said if she doesn’t stop dancing she could end up in a wheel chair by the age of thirty.
The dream was over!

Marina went back home. But she continued along her way. “Everything works out, if only you want to”, she says. “You have to believe in yourself”. She graduated from high school in Garmisch, and also worked as a model. She traveled the world for a year, living in France, Canada, and Ecuador with host families, improved her French, and learnt Spanish. And then she discovered a new passion. Film. And a man: Roland Reber. The colossus of a man, who worked as a director, author and actor since the eighties had decided a few months back to declare war on the German film industry and to prove that one could survive in this shark tank without public film subsidy.

His first film was “The Room”: two persons should look after an empty house for six weeks. The only constraint - they shouldn’t enter a specific room. For that Movie Roland Reber, Mira Gittner, Marcus Grüsser and Marina Anna Eich were awarded the 2001 Emerging Filmmaker Award in Hollywood, the Best Foreign Movie in Chicago, the best Movie in Thessaloniki and others. “The film industry said: you were just lucky”, says Eich today. But the team were persistent. And with his mini crew, who not only acted in front of the camera but also shot and made the editing, Reber produced in a row “Pentamagica” (2003), “The Dark Side of our Inner Space” (2004), and then in 2005, “24/7 The Passion of Life”.

“My favorite film”, says Eich. She plays the role of the naïve hotelier’s daughter Eve, who one day meets the Dominatrix “Lady Maria” (Mira Gittner). And she immerses into a parallel world, populated by slaves, humans turned into pigs, sadists and masochists. “We were skating on very thin ice” says Eich. For several months, the team researched swinger’s clubs, and the S&M scene. “We simply had no idea”. Gittner stood in a studio as a guest dominatrix, the shoots were done at a Munich club during their ongoing daily business. All over Germany “24/7” was screened in small as well as big cinemas. Every year on July 24th, the movie is screened not only in swinger’s clubs, in Munich it was shown at the Museum-Lichtspiele this summer. ARTE will broadcast the erotic drama on November 10th at night; it was also screened at the Five Lake Filmfestival in Starnberg 2 years ago. There were heated discussions between Roland Reber and the audience not only there. Porn, flat, awkward clichés, said some. Others were fascinated.

In any case: it provokes. The sex scenes aren’t fake, even if during the shooting they are “absolutely unerotic and just exhausting”. Eich sticks by her work: “I also have a bit of an exhibitionistic streak.” But what does it mean: it only means to display themselves, to present oneself: “As long as I can still do this…”

She went on. In 2009 Eich performed in Reber’s film “Angels with dirty wings”, along with Antje Mönning, known as TV-nun Jenny from the ARD series “Um Himmels Willen”. BILD scented a scandal: “The TV-star shot a sex film” the paper wrote – and: “Sex-nun lives in a commune with director”. In fact Antje Mönning, Mira Gittner and Marina Anna Eich live together with Reber in the countryside. “We are like a family”, says Eich.

Somehow the young woman has reached her inner self. “One shouldn’t let others to lead us astray from our own path”, she says thoughtfully. She is a Jury member at international Film Festivals, and acquired much respect. In November, she flies to Goa to present the new work at the Film Festival, where she plays the main part. Marina Anna Eich performs a confident, self-assured woman. A challenge - she is more of the “hysteric, jittery kind”. Although she turned more calm since the accident with the lawnmower. She is satisfied with her life today - “and grateful”. One thing is very important to her, she says this sentence several times: Be yourself.

 

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Antje Nikola Mönning & co in "Engel mit Schmutzigen Flügeln" [2009 Germany]

Apologies for the slow updates as I've been struggling to find time again, but this is a big one, and I hope, worth the wait. With WTP's latest film about to premiere shortly, perhaps it is timely to catch up with the inimitable Roland Reber's filmography.

His 2009 film, "Engel mit Schmutzigen Flügeln" [Eng. Title: Angels with Dirty Wings] is probably among his lighter works, it being more of a satirical comedy. Having said that, X-Factor contestants should perhaps be asked to watch this film - but then again, they might not 'get it'.

Storyline:
Three biker-friends - Michaela, Gabriella, and Lucy appear to like putting each other through ordeals for the right to stay in the group, and this time it is Lucy's turn. Michaela and Gabriella accuse Lucy of being vain, conceited and ignorant, but behaving outwardly as goody-two-shoes. They want her to 'be herself' - live the horny slut she's always been deep-down. This takes Lucy on a lurid journey of 'self-discovery', from an attention-seeking coquette to an amoral slut, which she becomes in the true sense after joining a stripclub/brothel - and enjoying every moment of it too, until she begins to question what she's doing.

The film is an examination of present day morals - masked in the quest for individual happiness are apparently selfish motives, narcissism, and an elastic sense of morality. But the film doesn't seem to delve deep enough to start a serious discussion on the big subject, even if Lucy's superficiality is displayed glaringly - in your face almost. The film does try to establish, with reasonable success the fact that Lucy would easily be considered 'normal' by present day society, based on her outlook and charm. Not so if she lives to her true nature. But then again, by doing so, she could at least live with a clear conscience.

The Production:
Co-produced by Roland Reber, Marina Anna Eich, Patricia Koch, and Antje Nikola Mönning - also the star of the film, the production has the usual WTP ingredients of team members doubling up as technical staff where necessary - Mira Gittner handles the cinematography and editing, and others also take up some walk-in roles. For me though, I was more impressed with Wolfgang Edelmayer's soundtrack - apart from the main reason for watching the film of course - for the sultry redhead Antje Nikola Mönning. She casts herself well in the role of the angel, with very dirty wings indeed - some of her scenes have to be seen to be believed. Roland Reber and his team have as usual tread a thin line between art and pornography, and managed to stay on the 'right' side... I think. Needless to stay it is a provocative film, demanding to be heard, and therefore, Recommended Viewing..!

The (optional) English subtitled DVD also comes with a load of extras, including a fascinating 'Making of' and a rather 'exposed' photoshoot of Antje Nikola Mönning and Marina Anna Eich for Penthouse Magazine. It is also the only proper instance of Marina Anna Eich appearing in the nude, but enjoyable nevertheless.

Official site and Trailer

Amazon DVD Link

 

Compilation 1: Antje Nikola Mönning, Mira Gittner, and Marina Anna Eich



Scene Guide:

• Michaela and Gabriella tell Lucy what's wrong with her - as biker-chicks do I suppose - during a 'pit-stop'. Lucy accepts their opinion almost passively, as if to underscore her desire to 'belong'. Michaela, Gabriella, and Lucy are played by Mira Gittner (Reber was charged with the camera in her scenes), Marina Anna Eich, and Antje Nikola Mönning respectively.
• "I know everything to the dot, except one thing, that's me, me, me..!" Well, our heroine is presented a Viking hat to do exactly that - explore herself. First up, a poor-old sod doesn't know what to make of Lucy stripping and bending over in his direction before she goes skinny-dipping in the lake.
• Lucy decides to prepare a 'seductive' portfolio, courtesy of lovely Patricia Koch, who plays the photographer (I for one wouldn't mind seeing her as the photo-subject for a change - if only - she never stays still..!).
• But Michaela and Gabriella ridicule Lucy's eye for pornography - so she had to get them redone. Sunlit nether regions anyone..?
• This time Lucy finds a more appealing victim in Martin - himself sunbathing in the nude. Thankfully, no dialogues here, Ms. Mönning gives us enough visuals to keep us occupied anyway..!
• What ensues is a full-on sex session out in the open, and the scene depicts everything except actual penetration - thin line, mind you. Whatever the case, they both seem to be having a good time..!
• Michaela and Gabriella mock Lucy's 'boring show' at the lake - she asks them if she needs to fuck giving 'ballet' poses to make them interesting.
• Brief montage of some naked bike-riding (by Lucy, of course), followed by another session with her friends, who ask her to look into the mirror to see the 'slut' in her. Next stop - Crazy Horse (not the pub, but stripclub cum brothel).
• Lucy finds it difficult to please her demanding female friends - she even allows the patrons to grope her. She had to carry out their order to masturbate in front of everyone. Assorted nudes appear at the beginning.
• By the time she's done, her friends are fast asleep - cue to open up to patrons even more, at least in terms of groping.

Compilation 2: Antje Nikola Mönning and Maren Schloz



Scene Guide:

• Funny scene as Michaela and Gabriella overhear Lucy talking 'sweet nonsense' to love-victim Martin. She compliments him on his cock, and even tells him that she's never had an orgasm until their time at the lake.
• A conversation between strippers - Lucy tells her employer and fellow prostitute, played by Maren Scholz, how much she enjoys being a prostitute. The employer's character isn't given a name in the film, so I'll address her henceforth as Maren.
• This scene probably captures the gist of the film. The women invite a group of bikers to their place. While Gabriella and Michaela are having normal albeit mundane conversation with the guys, Lucy is communicating with them in the only way she knows best - sex. She repeats the same words she'd said to Martin, and the guy too falls for it. This is also the most erotic scene in the film. Ms. Mönning gets liberally groped by the object of her interest.
• More groping and leg-spreading back at the Crazy Horse in a threesome scene.
• Cleaning up afterwards - I've wondered if the pole where strippers perform ever get cleaned properly - I'm so glad to see they do. Lucy and Maren again have a conversation about the joys and trials of being a prostitute.
• Lucy's 'signature' show gives punters yet another intimate experience - this time it is also interactive as she invites one of the guys to join her.
• Michaela and Gabriella show Martin the kind of girl Lucy really is. He watches with dismay as his 'love' gets down and dirty with her customers.
• Martin is glad (more like relieved) to hear what a woman truly feels after talking to Maren - she tells him that she doesn't find him remotely interesting, and that she'd forget about him the very next day. He is thankful, and finds solace in her arms. So - is this prostitute the true angel? Depends on your viewpoint, I suppose..!

Bonus Compilation: Photoshoot of Antje Nikola Mönning and Marina Anna Eich
Excerpts from the photoshoot for Penthouse magazine of Antje Nikola Mönning and Marina Anna Eich displaying some of their charms. Taken from the DVD extras, with permission from WTP International.



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Exclusive Interview with Marina Anna Eich

Excerpts from my interview with Marina Anna Eich, the star of "24/7, The Passion of Life", made exclusively for this blog.



Q. Some extensive research seem to have gone into exploring the world of BDSM. Are any in the production team active or former BDSM practitioners?
A. No, we had the same prejudice as many other people. But knowing we are entering a foreign world, and making a film with elements of it, we did some research for months before shooting the first scene. We talked to people who practice BDSM or swinging, we had a close look and observed.

Q. How challenging was it for you to perform in these sex scenes. And how much input was yours in the manner in which it was depicted. Looking back, do you still think they are essential to the narrative?
A. I think when making a film about double morals, hidden sexuality and society, it is necessary to also show some of the sexual situations. It would be prudish not to show what it is about. I made a lot of input to my role. Before each scene I made the proposal of what I wanted to do and show... That is the great thing about working with WTP, every actor can give their input and form her/his role the way she/he likes. It was challenging in a good way, as also for me (as Marina) it was a new area, and I immersed like Eva into the new world.

Q. Would you consider making such scenes in future?
A. Sure, why not? Sexuality and nudity is an essential element in life, so why not show its naturalness.

Q. Apart from being an integral part of the WTP production team, are you currently doing any other work, either as an actress or in some other profession?
A. In the last 3 years I have done one more feature film apart from WTP (Horror genre; Title: Break) which my cousin (Matthias Olof Eich) directed. I wanted to support him with his first feature film.
In 2009 and 2010, I was also the spokesperson (and did all the press work and public relations) for the upcoming "Five Lake Film Festival" which is held yearly in July/August in the south of Munich.

Q. What do you prefer to do in your spare time?
A. I am a passionate biker and ride about 25000 Km a year with my two bikes (cruising with my Street Bob-Harley Davidson and speeding with my Honda Hornet). Apart from that I like hiking, reading books, learning languages, relaxing and taking a sauna. In my spare time I look for calmness and peace because at work, there are always so many people surrounding you.

*** STOP PRESS * STOP PRESS * STOP PRESS ***

WTP Film News Extra

WTP International has almost completed shooting its latest film, "The Truth of Lie" due for release later this year. The film bears some similarities to "The Dark Side of our Inner Space".

Synopsis:
A man (Christoph Baumann), 35, studies psychology and works additionally as motivational coach, but wants to do more. He decides to become an author. The subject which fascinates him is emotional borderline experience. He seeks volunteers willing to get into an extreme experiment for money for a period of 5 days, and hires an abandoned factory.
Two young women agree to volunteer. One (Marina Anna Eich) is a daredevil that likes adventures. She seeks excitement and thrill. The other one (Julia Jascke) is more circumspect and submissive. However, apart from the money, it is the possibility of self-awareness that is of more interest to her.
After arriving at the dungeon Christoph plays some psychological games with them which unfortunately doesn't reach true borderline. He takes notes and carries on his presentations, but is aware the five days will be over soon. He decides together with his publisher (Antje Nikola Mönning) to extend the five days without letting the volunteers know and tries to drive them to the extreme. What begins as a game soon turns serious, and the frontiers get blurred - one doesn’t know anymore who is victim and who is offender.
What is reality?

With such a storyline and cast, this sure promises to be another one of Roland Reber's envelope-pushing films one can't wait to see. And I've been reliably informed that there are some nude scenes in it as well, including Marina Anna Eich. I will keep you guys updated on further developments on this exciting project.

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Marina Anna Eich & co in "24/7 The passion of Life" [2005, Germany]

Continuing Roland Reber's filmography, his 2005 drama "24/7 The Passion of Life" uses BDSM and swinging themes to propagate his theories on sexuality and meaning of life.

The film, if anything is educational. Unlike the clichéd view of what we see of BDSM in mainstream films, 24/7 delves into what actually the participants aim to achieve, which by the look of things is a lot more than the end orgasm. To say the film is not easy viewing is an understatement - it is not particularly pleasant to watch or hear what the film is trying to say. Some of the arguments made are provocative, incendiary even. But then again, at least readers of this blog know that films or any art needn't necessarily have to be pleasant. The best way to approach it is to see this as another interesting view-point, whether or not we agree with what Mr. Reber has to say.

As in many of his films, he uses a mouthpiece, here in the form of dominatrix Lady Maria to air his views, most of which are philosophical - strongly nihilistic, with echoes of not only Nietzche, but some pre-biblical ideas too. Having watched this very involving film only recently, I'm still not sure whether this should have been made as a feature film, or published as an academic work - there's simply too much in it. One has to set aside time, both to watch the film, and later to digest it. It is nevertheless a bold experiment, one that can only be made by self-financed film companies like WTP International. Thank 'God' for independent cinema - Amen..! ;-)

Storyline:
I will keep it to a minimum as it is not so relevant for this film. Reber uses two distinct characters to play out his theories - one is heiress to a luxury hotel Eva, and the other is Magdalena, a sociologist pursuing her doctorate by working as dominatrix Lady Maria. When Eva admits to being sexually unfulfilled, Magdalena encourages her to explore her sexuality first and find out what she really wants. She advises that if sexual fulfilment is her main problem, her starting point should not be S&M but a swingers club. Eva's journey of discovery takes her full-circle before Magdalena (as Lady Maria) espouses what she sees as the true meaning of existence and identity - that one must create oneself anew, by being the father and mother of their own self.

Technically, I think the film is well done, but I couldn't help feeling that it tends to occasionally over-emphasise the obvious (both in terms of screenplay and editing). However, what stands out is the performance of the actress playing Eva, Marina Anna Eich, with her 'Alice in Wonderland' like curiosity as she savours every sensation and situation she comes across enthusiastically. Ms. Eich also appears in some explicit sex scenes, and I can confirm that none of these use body-double (also read her exclusive interview). Wolfgang Edelmayer's sound track is appealing and greatly helps the film narrative. As with all of Reber's films, many in the cast double up as crew as well, with Mira Gittner as Director of Photography and Editor, and Marina Anna Eich and Patricia Koch as co-producers.

The DVD includes some great extras like the short film, "Dann nenn es halt Liebe", a TV feature, and audience interaction with Mr. Reber and Ms. Eich during its festival premiere. If you are looking for something out of the ordinary, something challenging, 24/7 is definitely Recommended Viewing.

The film can be purchased from Amazon.de*.

Official site and Trailer

Amazon DVD Link

* A new DVD release of "24/7 The Passion of Life" will be published shortly that will also include English subtitles. I will update the Amazon link as soon as it is up for sale.

 

Compilation 1: Marina Anna Eich
These scenes are predominantly of Eva exploring her sexuality.



Scene Guide:

• A strip contest in the swingers club Eva starts frequenting. She joins in the fun too. Curious Eva is played by the beautiful, voluptuous and very feminine Marina Anna Eich. The contestant in white panties is Claire Plaut. All the swinging scenes were filmed in an actual swingers club, and it's owner also appears as an important character in the film, Mike who befriends Eva.
• Mike suggests to Eva that one of the reasons for her not winning the contest might be her pubic hair, and offers to trim it - which leads into this graphic but stylised sex scene. I've edited some parts of it so that we could focus on the lovely Ms. Eich.
• A nice scene of Eva and Mike frolicking in the woods.
• When Eva tells Mike her sexual fantasy is to have sex with several partners simultaneously, free from the need to feel or be loved, he offers to be her sexual 'travel guide', and initiates her to swinging. But the moment he notices a third person touching her privates, he pushes the men away. When Eva asks him why he ended it so abruptly, he suggests one should be careful and gentle, to which Eva replies that she had been that all her life, and is now in need of excitement.
• Mike arranges another swinging session, and one can clearly see that he had begun to fall in love with Eva. This scene is also inter-cut with happenings in dominatrix Lady Maria's den, where one of her guests is treating himself to a 'wine' enema (thankfully not explicit).
• A disgusted Eva breaks up with Mike, and decides to seek excitement on her own - by working as a dancer at a strip-bar.
• Strip dance no: 2 - Mike comes to see her perform. He couldn't bear to watch other men ogle at Eva, and leaves. There's another inter-cut with goings on in Lady Maria's, where a guest bears his 'cross' - to be later stripped and 'crucified' by Lady Maria.
• Lady Maria had been instrumental in opening Eva to a new world. She visits the strip-bar and books Eva for a private dance, during which she asks Eva what she'd achieved so far. Eva tells her she doesn't know if there indeed is a goal, but that she's only sure she wouldn't want to go back to the 'gilded cage' she used to live in.
• Interesting symbolism in the end scene of the film where Eva is 're-born'.

Compilation 2: Mira Gittner, Claire Plaut, Marina Anna Eich, Patricia Koch, and others



Scene Guide:

• Magdalena, as Lady Maria the dominatrix soothing one of her guests after punishing him earlier. Lady Maria is played by Mira Gittner.
• Eva's first trip to a swingers club - she and her male companion are shown the facilities. The guy who accompanied her is not interested and decides to chill in the pool, but once an interested lady joins him, he gives her the slip. The lady is played by Claire Plaut.
• No nudity but funny scene - Eva introduces Magdalena (Lady Maria) to her father as a sociologist friend at a family dinner. The father, impressed by Magdalena's expansive knowledge, tells Eva, "...you can learn a lot from her". She smiles and replies, "That's what I do, Dad"!
• Lady Maria uses Eva for one of her sessions with the guy who thinks he's Jesus, ridden with guilt - she taunts while 'forcing him' to partake in two sins.
• Pole dance-strip by Stephanie, played by sexy thing Patricia Koch. I seldom enjoy watching strip/pole dances - they just don't do it for me - but even I was impressed. Ms. Koch is also a fine-art photographer, and one of the film's producers and long-standing members of the WTP team - she sure looks a pleasure to work with..!

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Marina Anna Eich in "Dann nenn es halt Liebe" [2001, Germany]

For a change, here's an introduction to a short film, from Germany...

Multi-talented actress Mira Gittner scripted, directed, photographed, edited, and produced this little romantic piece, "Dann nenn es halt Liebe" [Eng. Title: Call it Love] by casting her colleagues at WTP International - Roland Reber, and Marina Anna Eich. Ms. Eich also won an award for best actress under her category at the AFM 2002.

A middle aged man regularly uses a prostitute for playing out his fantasy - of a couple in love. After a year's acquaintance, we see he is in love with her for real - a threshold had been breeched. The woman's predicament reminded me of the character 'Ariane' in Chantal Akerman's French drama, "La Captive", and while both the characters' circumstances are entirely different, they nevertheless are stuck in dysfunctional relationships. There is only brief nudity in the film, but we certainly get to see a different side of the beautiful Marina Anna Eich here. But this is not the last of what we'll see of her in the blog - I will be covering the bulk of Roland Reber's filmography in the coming weeks, which will portray several more scenes of Ms. Eich.

This film however, also appears among the extras in the DVD for "24 / 7 - The Passion of Life", but the one reviewed here is a 'special' edition - forwarded to me by Ms. Eich herself. It is in full-frame, and comes in two versions - with and without English subtitles. She had also been extremely generous in allowing me to post the entire film. Now that definitely is an exception in this blog, as I don't normally share full films..!



Film's Official Website:




Download Full Film (no subs)


Download Full Film (WITH English Subtitles)


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Marina Anna Eich in "The Dark Side of Our Inner Space" [2003 Germany]

Roland Reber's 2003 drama, "The Dark Side of Our Inner Space", is an interesting exploration of human nature in unnatural surroundings. Much like the Canadian classic, "Cube", it explores darker human instincts like selfishness, fickleness and desire, although in an entirely different manner. Here, participants volunteer, and the location itself of "The Big Game" acts a metaphor to describe human behaviour.

Five people are chosen to play 'The Big Game' at a disused Army barracks by 'HE', its mysterious owner. Called the 'Barracks of Freedom', participants are free to set their own rules and laws. The purpose is for the group to free themselves from societal norms and do whatever they want to do. Marcus, Anna, Kai, Jessie, and Tanja are introduced to each other when they arrive at the barracks - they will compete in games created among themselves to reach 'The Big Game'. They are all of different temperament and walks of life, the only similarity is their desire to compete and win. What starts off as a game soon becomes sinister as we see each participant trying to deceive the other. Morals and scruples are set aside in their quest for 'The Big Game', in which only the coolest of heads will prevail. What is the point in winning this game. And is life itself a game..?

I was surprised to see that very little had been written about this film - I too wouldn't have known about it if it wasn't included in my box-set. It certainly requires reappraisal as it is actually quite deep in places - laying out in open shortcomings in what we call 'civilized societies'. Most of Reber's introspective philosophical musings are made by the enquiring mind of one of the participants, Tanja, and although she works within the group's rules, there is an air of detachment about her.

With this storyline, it would have been so easy to go berserk by focusing on sex and violence too much. It doesn't, only depicting as much as is necessary. Mr. Reber explains in an interview, "...if we remove violence and sexuality out of the film, it would no longer have anything to do with human beings". As with all Reber productions, the film had been allowed to take shape organically during its making, and several of his cast also double up as the crew. Mr. Reber himself acts in the film as 'HE', and Mira Gittner who gives a restrained performance as Tanja also took up cinematography and editing duties. As for the technical aspects, the soundtrack is catchy, lending itself to the theme, the overall characterisation is well conceived - none of them look like caricatures, and the film even has a lighter side. But the film is not light entertainment, despite the simple screenplay.

In fact, parts of the film would have escaped me if not for one of the stars of the film, Marina Anna Eich. She is also WTP International's (their film production company) PR and Sales Manager, and was extremely helpful by providing me the dialogue sheet for the film in English.

The DVD features footage deleted from the final cut, an 'alternative' ending, and also an interesting interview with Mr. Reber about the making of the film. Needless to say, Recommended Viewing..!

Official site and Trailer

Amazon DVD Link

 




Compilation: Sabine Krappweis and Marina Anna Eich



Scene Guide:

• One of the participants, Anna is an book keeper by day but an S&M mistress 'in her real life'. She proposes a game with Kai to act as her slave, but he breaks the first rule by insisting on playing the master himself in this darkly lit scene. She had to end the game midway. Anna is played by the well-sculpted Sabine Krappweis.
• Marcus is the self-appointed law maker, but who couldn't help falling for the charms of participant and Daddy's girl Jessie. Jessie's cunning belies her dumb-blonde persona, as Marcus will soon discover. Jessie is played by the stunning Marina Anna Eich.
• Role playing in the dungeon - Marcus punishing Jessie for leaving him.
• From the deleted scenes - of Jessie working with a sleazy photographer.
• Turns out Kai is a virgin, finding it difficult to turn his fantasies into reality. Jessie offers to help.
• Jessie fulfils Kai's fantasies in this hilarious scene - now there's a reason why she isn't camera-shy - with a body like that, she needn't be.
• One of the participants' suicide sets off a chain of events that none of them seem capable to control - Jessie is remorseful in this scene - there is a different and longer version of this in the alternative ending that isn't included here.

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