TWO RIGHT, TWO LEFT, DROP ONE

CDN 1972, D Recha Jungmann, Print colour, DCP from 16mm, 5 min, German OV, Deutsches Filminstitut – DIF e.V.

A short, flighty poem: A woman’s face becomes a man’s face, two women’s faces; one withdraws, then no longer does; they argue, about the man they’re looking at, how can you? His eyes are deep, no, his eyes are vacant; and the women together, they love each other at the end – and the man? Let yourself be surprised… (Doris Kuhn, Rote Küsse – FilmSchauBuch, 1990).

The digital restoration is funded by Hessisches Ministerium für Wissenschaft und Kunst.

×
Acronyms
amer. American English
b/w Black and white
OV Original version
SUB Subtitles
+SUB electronic live subtitling (below the image)
INT Intertitles
Countries
AT Austria
FRG Federal Republic of Germany (historic)
BLR Belarus
DE Germany
CAN Canada
GDR German Democratic Republic (historic)
EGY Egypt
FR France
GB Great Britain
URY Uruguay
BRA Brasil
SWE Sweden
UKR Ukraine
PL Poland
IDN Indonesia
PRT Portugal
HRV Croatia
ECU Ecuador
HUN Hungary
AUS Australia
IT Italy
MEX Mexico
IND India
ZWISCHEN MOND UND SONNE

D 1981, D Recha Jungmann, SC Recha Jungmann with Titus Spree, David Schleiermacher, C Marian Czura, Renato Fortunato, Horst Zeidler, E Beatrice Wilbert, S Enzio Edschmid, Joseph Dillinger, P Susanne Osterried Filmproduktion for ZDF, Cast Titus Spree, David Schleiermacher, Werner Schroeter, Recha Jungmann, Alex Bergs, Birgitta Kummer, Annette Kalk, Print colour, 16mm, 105 min, German OV, Arsenal – Institut für Film und Videokunst e.V.

Recha Jungmann aspired to capture the image of her son before he would leave her charge behind, transcending from the children’s world of the moon to the adult world of the sun. With all intent the camera was used to record a slice of “private” Germany, and it does so more persuading than the film titled Deutschland privat. Jungmann worked with love and sensibility; the overexposed images of Titus as a small child, nestling up to her, suggest that letting her son go is a painful process. She portraits herself as a mess, jumping in the meadow betwixt father and son; trying in vain to freeze the time that’s slipping away. (Brigitte Jeremias, FAZ, 30.5.81) Recha Jungmann attempted to use tape and camera to capture her son’s secret emotions, desires and fears [...] with a camera, that partly follows the observing eyes of the mother, but also conveys what Titus, the son, is experiencing [...]. The film happens to not be as “private” as expected; Titus and David, subtly studied, readjust the image of the apathetic, self-absorbed teenager. Behind the roughness of them encountering their surroundings lies a unique, fascinating and even kinder world. (Carola Splettstösser, Badische Zeitung, 30.5.81) [A] film by a mother about her son. The camera moves around mother and son, like we’ve only seen before in home movies. […] She shows herself to be a woman who lives her own life, and as a mother whose sphere of influence is determined on the one hand by the child; on the other hand, she pushes this child to the sidelines. This is a combination that many audience members found intolerable. […] Between the Moon and the Sunis to me the most personal and direct film in the festival. [...] Recha Jungmann went as far as she could with her mother-son theme, displaying her fears, desires, sadness, and hopelessness – and her suppression of it all, so she could function. This is absolutely new. (Gesine Strempel, Courage, No. 4/1981).

The digital restoration is funded by Hessisches Ministerium für Wissenschaft und Kunst.

×
Acronyms
amer. American English
b/w Black and white
OV Original version
SUB Subtitles
+SUB electronic live subtitling (below the image)
INT Intertitles
Countries
AT Austria
FRG Federal Republic of Germany (historic)
BLR Belarus
DE Germany
CAN Canada
GDR German Democratic Republic (historic)
EGY Egypt
FR France
GB Great Britain
URY Uruguay
BRA Brasil
SWE Sweden
UKR Ukraine
PL Poland
IDN Indonesia
PRT Portugal
HRV Croatia
ECU Ecuador
HUN Hungary
AUS Australia
IT Italy
MEX Mexico
IND India
Recha Jungmann

Recha Jungmann studied in the 1950s at the Academy of Music and Theatre in Hannover and subsequently worked as an actress, e.g. at the Schauspielhaus Frankfurt . 1968 she shot her first documentary film, Renate, which was screened and well received at national and international festivals. In 1972, she directed the short Two Right, Two Left, Drop One, which celebrated its world premiere at the 1st Women’s Film Festival of Toronto. From 1975 to 1978, she worked as an author and director for the ZDF programme Schülerexpress. Her fiction feature Etwas tut weh (1979) had its world premiere at Rotterdam Film Festival and was screened at the Berlinale in 1980 in the "Forum"-programme. Her next fiction feature Zwischen Mond und Sonne, had its world premiere at the Berlinale the following year. In 1981/82, Jungmann realised the three-part television mini-series Unsere Mütter, Unsere Väter, which features both documentary and fictional elements. Jungmann continued to work from the early 1990s on for television, realising numerous television documentaries for ZDF, HR, WDR, SWF and more. In addition, she has served as a writer for the HR series “Bücher, Bücher” and developed screenplays for TV movies and reports for informational formats. Recha Jungmann lives in Frankfurt.

This website is using cookies

These include essential cookies that are necessary for the operation of the site, as well as others to display personalized content. You can decide for yourself which categories you want to allow. Please note that based on your settings, not all functions of the website may be available.

This website is using cookies

These include essential cookies that are necessary for the operation of the site, as well as others to display personalized content. You can decide for yourself which categories you want to allow. Please note that based on your settings, not all functions of the website may be available.

Your cookie preferences have been saved.