Joachim Król is one of the most accomplished and best-known of German actors. He played a decisive role in shaping the awakening of young German cinema in the 1990s. His collaboration with directors such as Detlev Buck, Sönke Wortmann, Tom Tykwer, Caroline Link and Ralf Huettner – to name but a few – lent an unmistakable face to German cinema. Since then, it has been impossible to imagine the film and cinema scene without him.

Joachim Król has often been a guest at Hof Film Festival. He has accompanied directors to premieres of their films and also played as a forward for FC Hofer Filmtage, the filmmakers’ soccer team. He has been awarded the German Film Prize, and delighted audiences as the winner of the “Film Prize of the City of Hof” in 2000. We are very happy to welcome this passionate theater and film actor in Hof and to present a selection of his films with him.

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Programm

Date
Time
Venue
Title
Wednesday, 10-27
14:30
Classic
Wir können auch anders
Wednesday, 10-27
22:00
Classic
Die tödliche Maria
Thursday, 10-28
11:45
Club
Die tödliche Maria
Thursday, 10-28
15:00
Classic
Der bewegte Mann
Thursday, 10-28
17:15
Club
Wir können auch anders
Thursday, 10-28
20:00
Classic
Die Stunde des Lichts
Thursday, 10-28
22:45
Classic
Gloomy Sunday - Ein Lied von Liebe und Tod
Friday, 10-29
12:15
Club
Der bewegte Mann
Friday, 10-29
14:45
Club
Die Stunde des Lichts
Friday, 10-29
17:30
Club
Gloomy Sunday - Ein Lied von Liebe und Tod
Friday, 10-29
20:45
Classic
Lautlos
Friday, 10-29
23:00
Classic
You'll never walk alone: Die Geschichte eine Fußballhymne
Saturday, 10-30
13:15
Club
You'll never walk alone: Die Geschichte eine Fußballhymne
Saturday, 10-30
15:45
Club
Lautlos
Saturday, 10-30
17:30
Classic
Der Junge muss an die frische Luft
Saturday, 10-30
20:00
Cinema
Mackie Messer - Brechts Dreigroschenfilm
Sunday, 10-31
12:00
Club
Mackie Messer - Brechts Dreigroschenfilm
Sunday, 10-31
14:45
Club
Der Junge muss an die frische Luft

Films

Die tödliche Maria

Die tödliche Maria - Poster 1

the wonderful production manager and producer milanka comfort had seen samples and film clips with me during the ongoing shooting of “wir können auch anders” (at that time, the title was still “unternehmen victor”). unusual, because she actually had nothing to do with our film. on the other hand, the young, inexperienced production team around claus boje was grateful for any criticism, especially when it came from someone as trustworthy and competent as milanka comfort. i was lucky. milanka comfort was in the middle of preparing a feature film debut. the young tom tykwer had set his sights on none other than truffaut legend jean-pierre léaud for the male lead in his film “die tödliche maria”. however, the engagement could not be arranged, so tom tykwer had to decide on someone else within a relatively short time. then milanka comfort, under the impression of the material seen at boje/buck, suggested a meeting with me. we met in a pub in berlin-charlottenburg, and in the ninety minutes that followed, tom tykwer told me, in real time so to speak, the complete script, from the first scene to the last. although ‘tell’ is not the right word. tom tykwer lived “die tödliche maria” for me. a deeply impressive performance. i was fascinated by the story and this film fool. our meeting ended with his request for me to pay for the few beers we had drunk, because he didn’t have any money with him. at that moment, i was convinced that this man would make his way in the film business. and i was happy to be allowed to go along with the first steps.

Date
Time
Venue
Title
Wednesday, 10-27
22:00
Classic
Die tödliche Maria
Thursday, 10-28
11:45
Club
Die tödliche Maria

Wir können auch anders

Wir können auch anders - Poster 1

somewhere david bowie sings ‘everything’s falling into place’. most of the time, it doesn’t. in this case, it was like that. after two joyless years of acting at a very small theater in the niederrhrein area and a quite successful but inconsequential guest performance at the hanover state theater, i kept my head above water with small television roles and appearances. my son was on the way, and i had almost given up looking for the right theater, which i was never to find, when i received a call from the casting icon an dorthe braker. she suggested i introduce myself to a young director who had just attracted some attention with a comedy. detlev buck. a friend from acting school days had given her the idea. the script arrived by mail and a casting was arranged. it was love at first sight. we did test shots, improvised wildly and soon it was clear that buck had found one of his main actors and i had found the director for my, if not first, then nevertheless most important film. with very few exceptions, i have never again been able to experience such a fantastically prepared production. in addition, as the first person to be cast, i accompanied the entire further casting in my role as kipp and therefore had already played some scenes dozens of times with the most diverse partners before the first day of shooting. the result speaks for itself.

perhaps the biggest compliment, besides the “honorable mention from the international jury of the berlin film festival” and five german film awards, was the caption to a shooting report in an east german newspaper showing horst krause, detlev buck and me. it read: ‚the director with his disabled actors‘.

Date
Time
Venue
Title
Wednesday, 10-27
14:30
Classic
Wir können auch anders
Thursday, 10-28
17:15
Club
Wir können auch anders

Der bewegte Mann

Der bewegte Mann - Poster 1

i had noticed sönke wortmann much earlier in a completely different context. namely, as a player for my hometown soccer club sc westfalia herne 04. we met in person for the first time on a student film set in tübingen. i was visiting one of my acting teachers who had taken on a role there, and sönke wortmann was a member of the film crew. our meeting resulted in two engagements under sönke wortmann’s direction. in “die hochzeit des figaro” and in “wahnsinnsehe”. at some point he asked me if i knew ralf könig’s comics. i even knew ralf könig personally. at the beginning of the 80s, he had caused quite a stir with his trashy troupe “the emscher sisters”, among others also in the corner pub VORORT in dortmund, which i ran at that time together with six other crazy people. ralf könig was impressive with a “mireille-mathieu-playback-disaster”. how i was supposed to find myself in ralf’s bulbous-nosed ensemble was a mystery to me. until sönke wortmann explained his plans to me and offered me the role of the homosexual norbert brommer. today, i have to laugh when i think that my first thought back then was: if i play norbert brommer, it’s absolutely necessary to communicate that I’m not gay. 1994. a different time. a casting at the film academy in ludwigsburg as part of a workshop by sönke wortman, but with kai wiesinger as axel feldheim at my side, brought the decision. the material i worked up convinced the producer bernd eichinger – and i had the role. later he told me that i was actually too old for him, but that he was very, very happy to have overlooked it.

Date
Time
Venue
Title
Thursday, 10-28
15:00
Classic
Der bewegte Mann
Friday, 10-29
12:15
Club
Der bewegte Mann

Stunde des Lichts

Die Stunde des Lichts - Poster 1

how often do you wish for an interplay of life, work and experience. maybe even adventure. with “when the light comes” this wish came true for me. my agency at the time sent me the diary novel “waar blijft het licht” by heleen van der laan, telling me that the book was to be made into a film and that they would arrange a meeting with the producer and director. for practical reasons, we met in a train station pub in amsterdam. the producer was from the netherlands, the director from belgium, and i was from cologne. the story was quickly told, and the two of them proceeded to explain to me the expected conditions of the shoot. filming location svalbard / spitzbergen. exclusively. 78 degrees north. two months in winter with twenty-four hours of absolute darkness and slowly returning light. one month in summer with twenty-four hours of daylight. expected temperatures in winter down to forty degrees below zero. studio shooting in existing hangars, everything else outside, in a landscape that looked like it belonged to a distant ice planet. a team with twenty nationalities. living in old mining engineer’s quarters of the nearby coal mine. container architecture. catering a problem. alcohol strictly rationed by the state. but it had already ignited. “when the light comes” was a once in a lifetime venture. i had to be there.

on the spot, first of all, all the problems that were to be expected, and those that none of us would have even thought of. the material went crazy, some of the participants coped better with the circumstances, some less so. however, nobody left. after eleven days, hardly a meter of film had been shot. oh yes, as far as the acting is concerned, maybe this: when i expressed some concern to the arctic-experienced production designer karl juliusson, he said: “don‘t worry joachim. you don’t play the island, the island plays you!

Date
Time
Venue
Title
Thursday, 10-28
20:00
Classic
Die Stunde des Lichts
Friday, 10-29
14:45
Club
Die Stunde des Lichts

Gloomy Sunday - Ein Lied von Liebe und Tod

Gloomy Sunday - Ein Lied von Liebe und Tod - Poster 1

someone once said: “there are three important things about filmmaking. casting, casting, casting!” i agree wholeheartedly. for weeks and months, the producer and director had kept me in suspense with announcements. a fantastic script was being written, a great production was under construction, and above all, they had a wonderful role for me. one like i had never played before. i was more than excited and naturally skeptical. drumming is part of the business, as we all know. and often silence follows drumming. not in this case. the script by ruth toma, one of our best screenwriters, was excellent. she had re-worked nick barkow’s novel “lied vom traurigen sonntag”, which was considered unfilmable, very cleverly and carefully, added the character of ilona and provided the whole thing with an ingenious dramaturgical bracket. masterful. a very promising beginning. but above all the problems that still had to be solved, which such an undertaking as “gloomy sunday” entails, was of course the cast. ruth toma’s screenplay offered four equal leading roles with ilona, hans, lászló and andrás. whereby ilona of course had to be the shining center. a difficult task for the caster tina böckenhauer. since i (as lászló) was already cast, i was asked to be available as an audition partner for the “casting ilona”.

and almost at the end of the day, after endless repetitions of the most important ilona-lászló-scenes, with the best colleagues tino böckenhauer could invite, still nothing was decided, when a small miracle happened. erika maroszán, a colleague from hungary, of whom hardly anyone present had ever heard anything, was still missing. the small door that was embedded in the huge studio door opened hesitantly and in its frame suddenly stood – ilona. with an enchanting accent she said absurdly: “guten tag, ich bin erika”, which at the same moment for everyone present she no longer was. the following audition was purely a matter of form. never again have i experienced that an actress was so at one with the role she was to play. everyone, really everyone, was in love with her.

Date
Time
Venue
Title
Thursday, 10-28
22:45
Classic
Gloomy Sunday - Ein Lied von Liebe und Tod
Friday, 10-29
17:30
Club
Gloomy Sunday - Ein Lied von Liebe und Tod

Lautlos

Lautlos - Poster 1

‘lautlos’ is both a gripping thriller and an unusual love story. joachim król shines in a role you’ve never seen him in before: as a killer.

that’s what it still says on the X-verleih website. i probably wouldn’t have cast myself in the role of the contract killer victor when i returned from venice after my second brunetti tv-adventure, somewhat frustrated and overweight. victor had to be slim, muscular, well-trained, short, in top shape. which i wasn’t. but there’s a solution for everything. two trainers were hired, a schedule and a training plan were drawn up, and the transformation began. after a few months, neighbors started enquiring about my health because of my weight loss, and shortly before filming began, veronica ferres, when i approached her on the street in munich, wordlessly gave me an autograph and went on her way. i was unrecognizable. unfortunately, the film didn’t find a big audience in germany. comment from a good friend: ‘no wonder, no one recognizes you.’ for the director, the film became a springboard to hollywood, and he went on to make a well-received thriller with sandra bullock.

Date
Time
Venue
Title
Friday, 10-29
20:45
Classic
Lautlos
Saturday, 10-30
15:45
Club
Lautlos

You'll never walk alone

You'll Never Walk Alone: Die Geschichte einer Fußballhymne - Poster 1

“’walk alone’ as the ‘scoucers’, the real liverpudlians would say, is an absolute stroke of luck in my career. actually not a job for an actor, more a job for someone with curiosity, joy of communication, love of travel and soccer, as well as theater skills. i happened to be sitting in the car with documentary producer andré schäfer from cologne when he took a phone call over the speakerphone and told the caller his idea for a film about the world anthem ‘you’ll never walk alone’ and its original story. my succinct comment when he finished the conversation was: ‘whenever this is supposed to happen, i have to be there!’, and that’s exactly what happened. spread over a good year, we tried to trace the history of ‘you’ll never walk alone’ in the most diverse places with the most interesting conversation partners. from cologne, budapest, vienna, new york and los angeles, for the theater and musical part to liverpool, herne and dortmund for the soccer part. weeks full of inspiring conversations about theater, music and soccer. a gift for which i am still grateful.

Date
Time
Venue
Title
Friday, 10-29
23:00
Classic
You'll never walk alone: Die Geschichte eine Fußballhymne
Saturday, 10-30
13:15
Club
You'll never walk alone: Die Geschichte eine Fußballhymne

Mackie Messer - Brechts Dreigroschenfilm

Mackie Messer - Brechts Dreigroschenfilm - Poster 1

it has been a mystery to me for years why no one has dared to make a film about this outstanding figure in the history of world literature and theater. at the latest after the fall of the wall, it would have been time for the big brecht film. brecht offers everything. from the kremlin to the car crash. from the boulevard to the committee for unamerican activities. film material en masse. i was all the more happy to play peachum in joachim lang’s film “mackie messer – brecht’s dreigroschenfilm” – which is about a special berlin episode around the premiere of the “dreigroschenoper” and its planned film adaptation. as part of an amazing ensemble. great honor. and challenge. because as a singer i hadn’t really excelled in the past. but with hard work and the help of excellent musicians i managed to do it respectably, i hope. in any case, it was great fun. if you’re wondering “why brecht? today?”, here’s an anecdote. peachum equips men and women for the begging trade. and collects money for it. a lucrative but illegal business. london 1837. for our film, our costume designers also equipped extras as beggars, historically. in an old building on the edge of the korenmarkt in gent. from there, the extras made their way to the set. one day, the police showed up. they had been informed that for a few days, normal people had been entering a building in the middle of the city and shortly afterwards leaving it raggedly, as beggars. this was very much an indication of commercial begging, which should be stopped. gent 2018. almost two hundred years. the sensitivity for misery has not diminished.

Date
Time
Venue
Title
Saturday, 10-30
20:00
Cinema
Mackie Messer - Brechts Dreigroschenfilm
Sunday, 10-31
12:00
Club
Mackie Messer - Brechts Dreigroschenfilm

Der Junge muss an die frische Luft

Der Junge muss an die frische Luft - Poster 1

finally, another screenplay by ruth toma. almost twenty years after ‘gloomy Sunday’. hape kerkeling’s childhood and youth in recklinghausen and the surrounding area. just seven years older, having grown up in herne, barely twenty minutes away by car, the time and milieu of the narrative were very familiar to me. in general, ‘der junge muss an die frische luft’ was, in a way, a ‘home movie’ for many of the people involved. the great cast, among others with sönke möhring, hedi kriegeskotte, rudolf kowalski, katharina hinzen and myself, had brought together actors and actresses from the region, which was not insignificant for the authentic tone of the production. the choice of film locations and the fantastic set invited us all to remember and rave about it again and again. although director caroline link, whose directing performance cannot be rated highly enough, was not concerned with precisely that. she was interested in the remarkable story of the development of a very young person in an environment she wanted to tell. an environment with all its tragedy and comedy. and this is where the leading actor julius weckauf comes into play. finding this young man can perhaps be described as the greatest stroke of luck in recent film history. what he has achieved, always in the closest collaboration with caroline link, of course, is simply remarkable to a high degree. for a while i ‘faltered’ at the thought of taking on a grandfather figure for the first time. when caroline link heard about it, she is said to have said at a production meeting: ‘what can i do, i can’t offer him a youthful lover!’ where she is right, she is right. in the meantime, grandpa willi is one of my favorites, and the days with caroline and julius and all the others are a particularly fond memory.

Date
Time
Venue
Title
Saturday, 10-30
17:30
Classic
Der Junge muss an die frische Luft
Sunday, 10-31
14:45
Club
Der Junge muss an die frische Luft