1917 – The Real October is a cinematic retelling of the Russian Revolution. Based partially on previously unknown source material, diaries, reports, and literary works of her animated protagonists, the two-time Grimme-Award-winner Katrin Rothe undertakes a multi-perspective interrogation of what is nowadays known as “October Revolution.” A novelty: The Russian Revolution told only from the participating artists.
What happened in Saint Petersburg, then known as Petrograd, during the time between the uprisings in February that forced the Tsar to abdicate and the takeover of power by the Bolsheviks in October? During this phase of the Provisional Government (a diarchy of the parliament Duma as well as the Soviets, the workers’ council) Russia drowned in chaos and anarchy. Amidst the on-going world-war it remained without a binding constitution. Why was no civil-parliamentary democracy formed? How did the return of Lenin and Trotzky change the situation in springtime? Which side had when and where how many military or other forces of arms?
The director’s attention is focused on the developments within a dangerous instable power vacuum. Along the historic chronology of the events she dives, along with her figures, into their social, cultural, and national policy discourse, into private worlds of thought, bold visions, and flaming pleas – into contradictory, vivid opinions, which change during the course of the events. Out of the diverse reflexions of these artistic contemporaries, a trenchant differentiation of the two revolutions of the year emerges.
How world famous the film’s protagonists would become is still unknown at the time of the occurrences. In 1917 all of them are cultivating contacts to each other as well as to various sections of the community in St. Petersburg. The lyricist Zinaida Gippius (voiced by Nicolaia Marston), then 47 years of age, lives opposite the Tauride Palace, the parliament building, in which the discordant Provisional Government confers separately. She is friends with several ministers and many a paper of grave political importance is authored on her kitchen table. The established painter and critic Alexandre Benois (Michael Morris), 47, as well as the internationally acknowledged writer Maxim Gorky (Trevor Rolling), 49, are already well established in Russia’s cultural life. Both fear the destruction of art and creativity. The bustling avant-gardist and soldier Kazimir Malevich (Paul Bendelow), 38, proves himself as a resourceful organiser and publishes one manifest after another. Vladimir Mayakovsky (Steve Hudson), the 25-year-old eccentric poet, tirelessly dashes through the city, is everywhere where it is dangerous and tangles with the older artists. He is dreaming of a new world and a radically different, truly democratic art.
Zinaida Gippius, the poetic “chronographer” of the occurrences of 1917 writes in February: “Like everyone else, I can’t get to grips with these times” and in autumn: “There is […] no more homeland.” Almost one hundred years later, the film artist Katrin Rothe sweeps together the colourful snippets of her cut-out figures and scenarios on the floor of her study. The inserted real-life scenes with her as a questioning and arraying narrator (voiced by Danielle Green) link the animated pictures together. Left unsatisfied by the reading of plenty of historical scholarly books, she searches for and finds more vivid thoughts, observations, and “truths” in the contemporary testimonies of the artists. At the same time, a chronological timeline of the historical facts grows gradually underneath her hands – ultimately woven around by a weave of “red threads”: the approach remains as many-voiced as life itself, even in the re-constructing retrospect.
The visual aesthetics of the film are orientated towards that of the then-contemporaries (i.e. the eager to try new things, heavily abstract, explicit design-vocabulary of the Russian avant-gardists) and unfolds, adopted into today’s world with plenty of charm, an entirely autonomous style. Its unabashed imaginative mixture of artistic and filmic means is characteristic for 1917 – THE REAL OCTOBER. Various materials such as cardboard, cords, and fabric join together to form the characteristic main characters, which “awake” as cut-out animations with complex and highly variably facial expressions, gestures, and body language.
At the same time not even a tiny piece of bubble wrap or fake fur denies its actual texture; if anything, the material plays an important part in the finished composition. The interiors, backgrounds, and city panoramas combine serigraphy, fine line drawings, and colourized tableaus of various different cue states, in front of which the protagonists turn up, as well as paper cuttings of demonstrating masses, dancing couples, marching troops, and three-dimensional collages. Historical black and white shots complement the dramatic composition with impressive references to the layer of the actual historical events and their existential dimension. Just as the visual, so is the auditory aspect of the film a stringently mixed cooperation of heterogenic elements. Specially composed music by Thomas Mävers, noises, historical sound on tape, tonal atmospheres and the speaking voices compose a river of layers with different density that reinforces the pictures’ moods and enriches them at the same time.
For the first time 1917 – THE REAL OCTOBER illuminates the historical subject on the basis of applicable artist biographies and thus debates superordinate, timelessly relevant culture-historical and culture-theoretical aspects at the same time: what role do arts and artists play, what role can they even play in turmoil, awakenings, and upheavals of established social systems? Where and how do they promote the events themselves with their compositions, ideas, and visions in an explanatory, propagandizing, and doubting way? Do they take a stand for the preservation of the cultural and artistic heritage? Or for renewal programmes that entail the destruction of the old? What is their leeway in this endeavour? What happens to the arts when life itself is in danger? What relations did and do artists bear to political structures, to state and financial powers? Can art ever be truly democratic? Is artistic autonomy or collective self-administration possible? How? Within the film, the acts and thoughts of the protagonists answer these questions in different ways. All of the artists perceive what happens differently, process it individually in their own reflexions and works, in their everyday-lives and political commitments, and thus return it to their surroundings, where it is cultivated further. In the concreteness of the year of the Russian Revolution cultural history manifests exemplarily as a sum of historical circumstances, occurrences, and personal fate.
The dates are, just as in the film, recorded according to the Julian calendar that was used up until 31st January 1918 and has 13 days less than the western Gregorian calendar.
Saint Petersburg = Petrograd
February 13 to March 3 1917: February Revolution (also abdication of the tsar)
Oktober 24 to 26: Bolshevist assumption of power (also October Revolution)
Cast & Crew
Katrin Rothe – Writer & Director & Producer
Katrin Rothe was born 1970 in East Germany. She studied ‘experimental film-making’ at the Udk Berlin and at the Central St. Martins College of Art in London. She is a freelance filmmaker and has primarily directed feature-length documentaries since 2003. Katrin Rothe Filmproduction arose from the company Karotoons, a creative start up from 2001 which was the first to create internet animations in Germany. Within the production of unconventional animated contents, styles, and formats, a special know-how has formed of producing mixtures of fiction and documentary with a certain amount of animation.
Films: „Concrete Gold – How the Financial Crisis Fluttered into My Living Room“ (2013) „Polen für Anfänger“ (2010) „I‘m his Ex“ (2009) „Dark Lipstick Makes More Serious“ (2003)
2007 + 2014 Adolf-Grimme-Award (German TV award)
Vladimir Mayakovsky, spoken by Maximilian Brauer | Steve Hudson
„Comrades, if you want your manifestos, posters and banners to draw more attention, turn to artists for help.“
„If you want your proclamations and appeals to be stronger and more convincing, turn to poets and writers for help.“
„The remains of fashionable and wealthy Petersburg began to convene in the ‘Comedians’ Pub’. I wrote the following couplet to a rousing tune:
,Munch your pineapples, chew on your grouse. Your last day is coming, you bourgeois louse.
This couplet was to become my favourite saying.“
Vladimir Mayakovsky is the poet of the 1917 revolution. He has been supported by Gorky. Mayakovsy was obsessed with the radical renewal of culture. In February he organized the cars for the street demonstration. He was out and about on the streets and appeared at meetings and discussions. Mayakovsky criticized Maxim Gorky and attacked Benois. At the same time he often seeked their help. He quickly growed tired of the numerous assemblies and reorganisations. Mayakovsky rather provoked and tried out new forms of art for the streets. Mayakovsky became the poetic “voice of the October”.
Alexandre Benois, spoken by Hanns Zischler | Michael Morris
„More than ever and with all my soul, I feel it necessary to end the war – at once and no matter what the cost! That is a categorical imperative.“
„This is folk art, these are our goods and we have to do everything in our power for the people to become aware of this and to take possession of what is rightfully theirs.“
„In the kitchens and servants’ quarters the most terrible things were predicted to happen today: wholesale slaughter and similar. Our butler even locked the front door and refused to let anyone in the house!“
„But I certainly hadn’t expected it to happen today – hadn’t realised we were seeing the last hours of our ‘bourgeois world order.“
Alexandre Benois was one of the most important art critics of his time. He was an aesthete, painter and considered himself a pacifist. Through the battle about the protection of the Russian cultural heritage and the founding of the ministry of culture, he becomes Gorky’s ally. His loathing of the war lets him sympathise with the revolution, but he does not find an affiliation. During the days of the October Revolution he is primarily concerned about the cultural goods in the Hermitage. Shortly after the attack on the Winter Palace, he finds and saves handwritten notes of the imperial family. Despite all the events happening around him, he tries to keep up a neutral stance.
Zinaida Gippius, spoken by Claudia Michelsen | Nicolaia Marston
„…it would be good to be blind and deaf, show no interest at all and write poems about ‘eternity and beauty’ (ah! If only I could!).“
„All along Nevsky, Tsarist eagles were smashed up – very peaceably. Caretakers swept up the pieces, boys dragged the wings around, shouting: ‘Here, a wing for lunch!“
„I’m not blind; I know that no intellectual manifesto can save us from those cannon…“
Zinaida Gippius was the lyricist of symbolism and a famous literary critic. She was regarded as grande dame of Petersburg’s literature and philosophy salon. She despised the Bolsheviks. Gippius lived directly opposite the Russian Parliament and became a witness of all kinds of events. In her flat, politicians of the provisional government socialized – even the commander-in-chief Kerensky. Gippius advocated the civil parliamentarism. Her utopia ended with the Bolsheviks’ assumption of power.
Maxim Gorky, spoken by Martin Schneider | Trevor Rolling
„I am going to found a party of my own, even if I don’t know what to call it. The only party member is me. I don’t think there will ever be more than three members.“
„Yes, we must keep fighting anarchy, but sometimes we must also overcome our fear of the people. The fatherland would consider itself less at risk if there were more culture“
„I would like to stress that an experiment is being carried out on the Russian proletariat. The awful thing about it is that it will long be betrayed by the high ideals of Socialism.“
Maxim Gorky was and is to this day an internationally known author. He was a dedicated critic of the tsarist regime. Gorky has been a Marxist and friend of Lenin’s long before the February Revolution. He was one of the constants in the circles of Petersburg’s intelligentsia. In February 1917 he unbureaucratically founded the Gorky Commission for educational work and the protection of monuments. Over the course of the year he dissociated from Lenin and the Bolsheviks more and more.
Kazimir Malevitch, spoken by Arne Fuhrmann | Paul Bendelow
„You alone, painters, sculptors, actors, poets, musicians and architects must close ranks to defend art.... Only you can help the young generation, who carry the spark of novelty. Only you can sound out the call to art throughout the land.“
„Everything in life has changed. Life has new helmsmen, alive and healthy and strong – but at the helm of art, it’s still the old suppressors of new ideas.“
In 1917 Malevich was already a famous avant-gardist. In February he served as a soldier in a writing room near moscow. Malevich sympathised with anarchist-individualistic principles. During the revolution he became involved in the soldiers’ council, acted as efficient organiser, and arranged, among other things, that artists were withdrawn from the frontlines at the end of May.
Thomas Mävers, Composition
Thomas Mävers has been enthusiastic about British spy films, Italian Western, and French Film Noir from an early age on. The film scores by John Barry, Ennio Morricone, and Michel Legrand have been stuck in his head ever since.
After he had epxerimented with several bands between avant-garde pop and experimental music, he was drawn to Berlin. After early successes with the duo STEREO DE LUXE, he has produced and written with or for RAZ OHARA and the odd orchestra, ELLEN ALLIEN and other artists. In 2011, he formed the band PRAG with Nora Tschirner and the singer-songwriter Erik Lautenschläger, whose debut “Premiere” immediately charted after its release in 2013, followed by TV-appearances as well as concerts with a ten-headed band or even a full symphony orchestra.
Silke Botsch, Montage
Silke Botsch has more than 20 years of experience as a cutter for feature length films, documentaries, commercials / image films, music videos, interactive music videos, and interactive multimedia installations. In addition to that, she was able to gain experience at the Deutsche Film- und Fernsehakademie Berlin (DFFB) in Berlin and New York.
Caroline Hamann, Storyboard
After Caroline Hamann finished her studies in graphics at the Camberwell College of Arts, London, she has worked in the animation industry. She started as a stop motion animator for Tim Burton’s «Corpse Bride» and moved on to storyboarding after 6 years. She already worked on Katrin Rothe’s film „Concrete Gold“, for which she made designs and drew the storyboard.
Jonathan Webber, Character design
Jonathan Webber studied design and typography in Essex. During the 1980s and 90 he worked on plenty of TV spots, title sequences, and music videos. In 1988 he moved to Berlin, where he focused on animated TV-series and feature films. He has worked for various studios. His works span from storyboards, layout, editing, and animation. In 2008 he founded The Big-B Animations Co. He has been working with Katrin Rothe on her films since 2003.
Werner Schweizer - Producer for Dschoint Ventschr (CH)
Werner ‘Swiss’ Schweizer studied sociology, journalism, and European folk literature at the University of Zurich. Since 1973, he has worked with video and film. He is a cofounder of Video-Zentrum and Genossenschaft Videoladen, Zürich ZÜRI BRÄNNT, and the film production company Dschoint Ventschr Filmproduction, which was established in 1994. From 1987 to 1989 he realised his first cinematic documentary. He has been working as an author and director of documentaries for cinema and TV. Werner Schweizer is a graduate of the EAVE Producers Workshop (1990) and has since been working as a producer at Dschoint Ventschr film production with a focus on documentary film. In 1997 Samir and Swiss were honoured with the Zürcher Filmpreis for their extraordinary work.
Peter Roloff - Producer for maxim film
Peter Roloff was born in Bremen, Germany. He attended (1986-1990) and then lectured (1990-1995) at the Institute for Societal and Business Communication, University of the Arts, Berlin. Since then Peter Roloff has been managing maxim film in Bremen and Berlin, Germany. Full-length documentaries for TV and cinema, as well as international co-productions, are the primary focus areas of maxim film. Short films serve as practical laboratories to sound out aesthetic and dramaturgic possibilities and borders for the moving picture. Invitations to international and national festivals are, among others, Berlinale, Locarno, Dokfest Leipzig, hot docs Toronto, Intern. Film Festival Sao Paulo, Rotterdam, Kassel, Oberhausen, new berlin film award, Filmfestival Max Ophüls Preis Saarbrücken.
written and directed by Katrin Rothe
music by Thomas Mävers
editing Silke Botsch
storyboard: Caroline Hamann
character design: Jonathan Webber
side character design: Nino Christen, Keti Zautashvili
background design Alma Weber, Caterina Wölfle
background colors Susann Pönisch
colorstyling and lettering: Tonina Matamalas
costume design: Hélène Tragesser, Alma Weber, Lydia Günther, Doris Weinberger, Tamari Bunjes, Maria Steimetz
animation: Lydia Günther, Lisa Neubauer, Caroline Hamann Gabriel Möhring Matthias Daenschel, Jule Körperich,
Karin Demuth, Kirill Abdrakhmanov, Caterina Wölfle, Donata Schmidt-Werthern Thurit, Antonia Kremer, Maria Szeliga
line producer animation: Katrin Rothe
compositing: Matthias Daenschel, Rainer Ludwigs, Felix Knöpfle,
Thorsten Pengel, Katrin Rothe
assistants: Anna Maysuk, Gregor Stephani, Donata Schmidt-
Werthern, Lara Czielinski, Knut Rothe, Jenefer Flach
cinematography: Thomas Schneider, Robert Laatz,
Björn Ullrich, Markus Wustmann
art department: Dennis Hannig
live action stills: Thomas Funke
sound design: Anders Wasserfall
beatbox artist: Das Friedl foley artists: André Feldhaus, Urs Krüger
voice recording: Klemens Fuhrmann, soundcompany berlin Ramon Orza, Tonstudios Z.
music recording: Stefan Ulrich, palais aux etoiles
sound mixing: Oliver Sroweleit, Studio Nord Bremen
post production supervisor: Thorsten Pengel
editing TV vesions: Fabian Eggenschwiler
color grading: Lucas Kessler
post production: Arno Schumann, Montagehalle
subtitles (creation): Cinetyp AG
historical consultants: Margarete Vöhringer, Heiko Naumann
legal adviser: Alexandra Hölzer
translations: Lydia Nagel, Susanne Rödel, Imogen Rose Taylor, Jekaterina Jevtusevskaja, Interna Translations AG
quotations from the translation by Helmut Ettinger aus:
Hippius, Sinaida „Petersburger Tagebücher
1914-1919“, (c) AB – Die Andere Bibliothek
GmbH & Co. KG, Berlin, 2014
translation of Mayakovsky’s poetry by Hugo Huppert,
courtesy of Helmut Pawlik
Benua, Aleksandr Nik „Dnevnik. 1916-1918“, with kind permission
by Zacharow Verlags Moskau
archive material „From Tsar to Lenin“ Herman Axelbank, Socialist Equality Party / David North
production managers: Nicole Schink, Sereina Gabathuler, Rainer Baumert (rbb)
production assistants: Liza Cramer, Sophia Rubischung
production consultant: Gunter Hanfgarn
commissioning editors: Dagmar Mielke (rbb/ARTE), Rolf Bergmann (rbb) Suzanne Biermann (ARTE G.E.I.E.), Denise Chervet (SRF Sternstunde), Gabriela Bloch Steinemann (SRG SSR)
produced by: Katrin Rothe, Werner Schweizer, Peter Roloff
production: Katrin Rothe Filmproduktion in coproduction
with Dschoint Ventschr Filmproduktion (Zürich) maxim film (Bremen) Rundfunk Berlin-Brandenburg in cooperation with ARTE,
Schweizer Fernsehen und Radio financially supported by Medienboard Berlin-Brandenburg GmbH; nordmedia Film- und Mediengesellschaft Niedersachsen/Bremen mbH; Zürcher Filmstiftung; Stiftung Studienbibliothek zur Geschichte der Arbeiterbewegung
world distribution: NewDocs, Köln
renting agency: Katrin Rothe in cooperation with filmokrat
press: Natalie Gravenor
Director Katrin Rothe about the film
Where did the idea for the movie originate?
Where did the idea for the movie originate? From a bulky book. It was written after the end of the Cold War and contains many formerly unpublished documentary reports of contemporary witnesses. They were incredibly vivid; I kept imagining what it was like at the time. From there it was an obvious choice to make these imaginations come alive. I was especially impressed by the artists’ way of thinking, which was not unfamiliar to me at all.
Describe the development of the film!
There was no finished script, only a tremendous amount of source material, all gripping experience reports. The storyboarder Caroline Hamann, with whom I had already worked on ‘Concrete Gold’, and I have developed a pictorial world for the historic and emotional key scenes. Then we had to experiment: What does cut-out animation for the cinema look like? What kind of designs could carry a feature-length film and still be feasible on a small budget? During this process we had already started with the production. We animated for months in the classic way: underneath a camera. Every day we made around 20 seconds of film.
What is your personal favourite scene of the movie?
There are too many for me to list them.
Which scenes were the most challenging to animate?
What we did was eventually a mixture of two-dimensional animatic and three-dimensional puppetoon, we called it 2.5D. There has never been anything like this before. I have often said: Guys, we’ll solve the problems one after another! At the same time all these tiny new inventions were great fun for my team and me.
Art and revolution are current issues. What connection does the film have to the present in your opinion?
We have six completely different subjective points of view: The ones of the five contemporaries and mine, which I have made transparent in the picture through the character of the documentary filmmaker. It is a film that looks at the past from the present stage. Artists do not make a revolution, they have no weapons, they are no politicians. However, they are considerably involved in what can be described as the ‘general morale’. They cannot control what comes out of it but they can take on the responsibility or not.
Katrin Rothe, January 2017
Co-producer Peter Roloff about the film
What I knew about the Russian Revolution? Next to nothing. A bit of Lenin travels from Switzerland to Russia in a sealed train. A bit of bad Bolsheviks. A bit of Eisenstein.
Katrin Rothe’s approach to look more closely at the year 1917 convinced me. No shortenings to catchphrases, but procedures, contradictions, fears, and hopes. And Rothe’s trust in the Russian artists as main protagonists for her film. Russian artists who are known for expressing the sense of life of their people. They are precise eyewitnesses and brave actors at the same time. Petersburg makes world-history in the year of 1917. The at times sketchy animation makes it clear: it’s an interpretation of history, it’s a true story of that october, but not the true story. It’s Katrin Rothe’s true story.
The Animators about their work on the film:
Lydia Günther, Animator of Vladimir Mayakovsky and mass scenes
Mayakovsky, Gorky, Malevich … I grew up with these names, but to me they always belonged to the past - but not for Katrin. She treated the characters as contemporaries. No matter if she travelled back in time herself or brought the characters into our times, it always felt as she was in a dialogue with them. That made work exciting for me. On the animation table the characters got their independent existence, they developed a character. I felt more than I knew, which movement would be the next one and which gestures would reveal which character trait. Every little shadow figure on the table came life, had its needs and fought for a place in history.
Lydia Günther was born 1982 in Bolshoi Istok, Russia. She studied art history and German studies at the FU Berlin and animation at the „HFF Konrad Wolf“ in Babelsberg. Her short film „Vor dem Spiegel“ was selected for various international festivals, amongst them Annecy (France).
Matthias Daentschel, Animator of Maxim Gorky
It was a challenge to make the flat cut outs appear three-dimensional through material, light, and a few tricks, in other words create a 2,5D look. The first character was Maxim Gorky. How do you access the thoughts of a dead poet? through his texts? His words? Or as an animator by making his eyes come alive.
Matthias Daenschel started as a scenic painter for theaters, today he works as a qualified freelance animator for motion pictures, TV series, commercials, and creates projections.
Lisa Neubauer, Animator of Zinaida Gippius
I have my roots in animation drawing, but from now on I only want to do stop-motion. The animation process is more intuitive and I think via simplification one can narrate even denser stories.
Lisa Neubauer has been working as an illustrator and animator in Berlin since 2011. She is specialized on characters and characteristics. She studied to become an animator at the Animation School Hamburg.
Gabriel Möhring, Animator of Alexandre Benois and effect scenes
To enliven the theme of the Russian Revolution from the viewpoint of the creative artists of the time with the help of cut-out animation sparked my interest immediately. The unique aesthetics we have developed for Katrin Rothe’s film have had an important influence on the characterisation of the characters and allowed us to experiment during the origination process. The reanimation of historical figures were very fertile and enriching.
Gabriel Möhrings short film “IOA“ (2013) was selected by around sixty international film festivals, including Annecy. Since then he has worked as a stop motion assistant animator on the feature “Ma vie de Courgette.“ Gabriel Möhring lives in Switzerland.
23 July Freilichtbühne Weißensee
8 November Kommunales Kino
23 Obtober + 29 October Universum
13 September Obenkino
7 November Puschkino
15 + 25 August Kinemathek
23 November Cinema Quadrat
23 Oktober TERRITORY festival
ab 13 November Casablanca
2 bis 5 November Kino Achteinhalb
16 November Capitol
28 September Kino Utopia
2 September Kino mon ami
28 September Theater Gessnerallee
28 September Kulturraum Thalwil
in Arras, Bonn, Bremen, Dresden, Esslingen, Frankfurt am Main, Göttingen, Hamburg, Hannover, Kiel, Köln, Luzern, München, Münster, Neustrelitz, Osnabrück, Potsdam, Regensburg, Rostock, Tübingen, Weingarten, Weiterstadt, autum 2017 und in Marokko, Mainz, Würzburg 1918.
Festivals & Events
3 - 12 November - Arras Filmfestival, Pas-de-Calais (F)
24 October - Erfurt, Stiftung Ettersberg
9/10 September - FANTOSCHE, International Animation Film Festival (CH)
6 September - History Film Festival, Rijeka (HRV)
2 September - mit arte und dem KUNSTFEST WEIMAR
14 July 2017 - Manchester Art Festival HOME (GB)
13/17 July - PERFORMFILMFESTIVAL Moskau
30 June- DOKVILLE Stuttgart, Metropol 2
26 to 28 June - moscow international film festival (RU)
12 June - Annecy 2017, world largest animation Festival (F)
11 June - Bremen release at the Goethe Theater
18 May - with Prof. Ulrike Weckel at the Gießener Kinocenter
4 May - Making Of exhibition at Animatorium und theatrical release Zuerich (CH)
3 May - Filmkunstfest Schwerin, with BpB
20 April - Volksbühne Berlin at Achtung Berlin
21 January - Solothurner Filmtage 2017
press kit German (pdf, ca. 5,8MB)
press kit ENG (pdf, ca. 14MB)
poster A4 GERMAN (zip, ca. 2MB)
Poster ENG (pdf, ca. 9MB)
technical reader (pdf, ca. 40KB)
pictures A4 with title (zip, ca. 11MB)
movie reviews (zip, ca.52MB)
Original title: 1917 – DER WAHRE OKTOBER
Countries of production: Germany / Switzerland
Genre: Animadoc – animated documentary
Duration: heatrical 90 min. / TV 52 + 45 min.
Broadcasters: / ARTE / rbb / SRF
Projection format: DCP, Blue-ray
Resolution: 4K / 2K
Picture ratio: 16:9
Sound format: 5.1
Language versions: Deutsch, Deutsch with EnglUT, English
English titel: 1917 – THE REAL OCTOBER
French titel: 1917 – LA VERITÉ SUR OCTOBRE
Russian titel: 1917 – ИСТИННЫЙ ОКТЯБРЬ
Impressum & Contact
IMPRESSUM: Katrin Rothe Filmproduktion, Franz-Mehring-Platz 1, D-10243 Berlin, M. +49(0)163-4724111, email@example.com, www.karotoons.de
WORLD SALES: NewDocs, Köln, www.newdocs.de, +49 22116819743; firstname.lastname@example.org
BOOKING GERMANY: Filmokratie, Hans Habiger, T. 030 2332 89292, M. 0179-8357078, email@example.com
BOOKING SWIZERLAND: firstname.lastname@example.org
PRESS: Filmokratie, Natalie Gravenor, T. 030 2332 89292, M. 0173-1327303; email@example.com