Somewhere in Brandenburg, rusty film cans are piled up in a barn, surrounded by boxes of props and costumes. All these objects would be better off in a film archive, but so far no one has contacted Rudolf Thome to pick them up.
Although he feels forgotten by the film world, Rudolf Thome is making one last attempt to make a film.
He grants Serpil Turhan access to his sacred screenwriting ritual, which lasts exactly 28 days and takes place in his “paradise” – as he calls his huge garden.
In her documentary, Serpil Turhan uses conversations and everyday observations to get closer to Rudolf Thome, a man who is currently in transition to a new phase of his life.
Somewhere in Brandenburg, rusty film cans are piled up in a barn, surrounded by boxes of props and costumes. All these objects would be better off in a film archive, but so far no one has contacted Rudolf Thome to pick them up.
Although he feels forgotten by the film world, Rudolf Thome is making one last attempt to make a film.
He grants Serpil Turhan access to his sacred screenwriting ritual, which lasts exactly 28 days and takes place in his “paradise” – as he calls his huge garden.
In her documentary, Serpil Turhan uses conversations and everyday observations to get closer to Rudolf Thome, a man who is currently in transition to a new phase of his life.