From Arthouse to Hollywood: How Augenschein is Redefining Genre Films

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Augenschein German Production recently announced that it will produce “The Weight,” featuring Ethan Hawke and Russell Crowe. Company heads Jonas Katzenstein and Maximilian Leo spoke with EbMaster about their transition from producing art-house films in foreign languages to creating English-language movies of a higher genre, star-studded productions.

Regardless of its German-originated name, which can be interpreted as “eye-glimmer,” Augenschein is aiming squarely at the international market. When it comes to their films, they are known for their distinctive directorial approach, according to Leo.

The main lineup for Berlin is headlined by “Islands,” a thriller directed by Jan-Ole Gerster, featuring Sam Riley, Stacy Martin, and Jack Farthing. This movie will have its world premiere on Sunday in the Berlinale Special Gala section, with Protagonist taking care of worldwide distribution.

Additional films scheduled for release are David Lowery’s emotional drama “Mother Mary,” featuring Anne Hathaway and Michaela Cole, distributed globally by A24; also, Brian Kirk’s action-packed thriller previously titled “The Fisherwoman,” now known as “The Death of Winter,” starring Emma Thompson, co-produced with Stampede Ventures.

Or:

On the schedule are two more films: David Lowery’s melodramatic film “Mother Mary,” featuring Anne Hathaway and Michaela Cole and distributed worldwide by A24; as well as Brian Kirk’s action thriller, formerly called “The Fisherwoman” but now titled “The Death of Winter,” starring Emma Thompson and produced in collaboration with Stampede Ventures.

Or:

More films to look forward to are David Lowery’s emotional drama “Mother Mary,” starring Anne Hathaway and Michaela Cole, distributed globally by A24; and Brian Kirk’s action thriller “The Death of Winter” (originally called “The Fisherwoman”), starring Emma Thompson, produced with Stampede Ventures.

As a cinephile, I’d like to share my excitement about “The Weight,” a captivating film that transports us to Oregon in 1933. This masterpiece is the brainchild of director Padraic McKinley. It’s a joint production endeavor by Simon Fields and Nathan Fields under Fields Entertainment, Ryan Hawke at Under the Influence, and Katzenstein and Leo at Augenschein. Can’t wait to see it unfold on the big screen!

After 2017, there was a transition towards more English-language elevated genre movies. This period, which Katzenstein referred to as the “high point of world cinema,” saw them having a film at Sundance, Berlin, and Cannes festivals, and three films at Venice. They even won a Berlin Silver Bear with “Ana, My Love.

Katzenstein expressed that we believed it was our best year, everything seemed wonderful and the festival performance was excellent. However, the movies didn’t seem to make much of an impact on the market beyond the festival. This left us feeling somewhat disappointed,” Katzenstein says. Additionally, Leo mentioned that this situation triggered a “producer midlife crisis.

Katzenstein proposes: “We considered taking director-led films and converting them into English language productions starring Hollywood actors. This way, we’d have greater marketing power and attract more attention. The narratives would remain the same, but by adopting this method, we can tap into a wider audience potential.

2019’s airplane hijacking thriller “7500,” featuring Joseph Gordon-Levitt, served as a significant breakthrough for our team, according to Leo.

This version maintains the original meaning while using simpler and more conversational language.

Instead of seeking financial backing for their film projects through conventional methods like signing talent in L.A., Katzenstein and Leo opted for a unique approach – financing their foreign-language arthouse films independently. When asked about the funds required, they would reply, “We don’t need money,” as they had already developed their own means of funding their movies. This independent approach granted them creative control over their projects.

Katzenstein remarks, “Economically speaking, it turned out to be the most successful film adventure we ever embarked on. Our 23rd movie surpassed the total earnings of the first 22 films combined, without a doubt.

As a passionate film enthusiast, I find myself agreeing with Katzenstein when he describes the current landscape for independent films as “challenging, yet not entirely impossible.” He also points out that the pre-sale market can be particularly tough.

Leo grins, ‘In the past, it was difficult to fund movies that seemed impossible, but now they’re challenging to finance.’ Leo comments further that recent adjustments to German film law have been incredibly beneficial. He notes, ‘Germany boasts one of the most robust film funding systems globally.’

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2025-02-15 09:17