Zwei zu eins Filmszene.

REIMON

A political and poetic portrait of the daily life of a low class woman who plays the role of a cleaning woman.
Argentina / Germany, 2014
Feature Film

Synopsis

Ramona lives in the suburbs of Buenos Aires. Every day she travels four hours and a half to reach her job and come back to her home.
She divides her working time between two upper middle-class homes where she receives the name of Réimon, a sound that evokes the English language, a Buenos Aires upper- class snobbish custom.
It ́s fiction and it ́s not. It ́s also a film about the labour conditions of a worker, about the time this worker uses for working and the efforts that implies working. It ́s also about the absurdness of cleaning someone else ́s house, the absurdness of modern life and the differences between social classes.

director's statement

REIMON began like just another fiction film, under a rigourous planification ruled by a production plan and a detailed script, as I´ve been making in my previous works. But immediately after, during the casting stage, I realized I wanted to break those rules. I didn´t want to work with professional actors, because I didn´t want to create a representation of the poor to tell the story of a cleaning lady. I neither wanted to film the poor in a documentary-like style because that would give a folklorish idea of reality; I didn´t want to make a realistic film, my aim here was to make a film about reality.
I found Marcela Dias, the protagonist of the film, a security guard who used to work as a domestic worker in the past. Her appearance seemed to be mysterious, as if she belonged to a lost Indian caste still undiscovered. She looked timid and silent. Then I stepped out of the screenplay and started to observe her real life with a camera.
Shooting days went on and little by little I began to introduce fiction in her real life in order to give a political outlook to her world, and also to enhance in cinematic terms her ordinary life. But the reality and the ways of addressing it tend to be much less direct and rational than realism. No one knew what film we were shooting at that moment as we all got involved in a total uncertainty during the shooting. The only thing I knew was that I was interested in the harshness and luminosity of reality, and also in the silent world of someone who is most of her time alone.
On the other hand, what we were shooting was a working class woman under a very specific political sight: her working conditions now in Argentina differ very little from what Marx described in The Capital 150 years ago, and the presence of Marx´s text in the film is a way of saying “someone has already spoken about this much better than I did. Therefore, we should all listen to him.Anyway there are contradictions about this because at the same time those guys reading the texts looked like martians through Réimon´s point of view. I think her point of view is the key that allows us to immerse in her daily life. And her point of view was given only by having dived into her reality.
Of course there is a gap between us filmmakers and her, a cleaning lady, and that kind of tension is a gap among our different social classes. This aspect beats all along the film and is represented by the young people who request Ramona´s services while they spend their time to read Das Kapital. Contradictions and differences.
Now the film is, rather, a work of fiction, a fiction that interacts with reality. And this interaction makes a singular operation: it´s not a film about Marcela Dias, it´s a film about working conditions and also a film about a woman called Réimon (or Ramona), a fictional character created specially for this film.
But Marcela Dias presence fleshes out to this drama since she belongs to real life (and this fact is not hidden by the film through any trick or any magic at all). One could say that Marcela´s point of view gives substance to reality although is not a film about her. So one may conclude, among other possible conclusions, that reality in film art has nothing to do with real life. One also could affirm that Réimon is the result of that experience, the combination between previous ideas and fresh and new ones discovered during the shooting, and even during the editing.

Festivals & awards

  • Spectrum - Rotterdam International Film Festival 2014
  • Filmfest Hamburg 2014

Credits

STARRING

Marcela Días da Souza
Cecilia Rainero
Esteban Bigliardi
Juvelina Faustino
Bruno Dubner

writer & DIRECTOR

Rodrigo Moreno

PRODUCERs

Rodrigo Moreno
Benny Drechsel
Karsten Stöter

CINEMATOGRAPHY

Gustavo Biazzi

EDITING

Rodrigo Moreno
Martín Mainoli
Anita Remón

SUPPORTED BY

Hubert Bals Fund
Riviera Maya Film Lab
Universidad del Cine

produced by

Compañía Amateur
Rohfilm
News
Contact
ZWEI ZU EINS eröffnet Filmfest München!
KAMAY wins Cinema of Urgency Award at Dok:fest München
Exerpt from Blickpunt:Films:

Der Viktor Dok.horizonte Competition – Cinema of Urgency der Petra-Kelly Stiftung ist mit mit 5.000 Euro dotiert und ging an „Kamay“ von Ilyas Yourish und Shahrokh Bikaran, die in einer Familiengeschichte eine unbekannte Seite Afghanistans zeigen.Die Jury dazu: „Wir möchten eine Geschichte auszeichnen, die so noch nie erzählt wurde. Eine Geschichte, die erschütternde Erfahrungen einer Familie und gleichzeitig das Schicksal einer ganzen ethnischen Gruppe beleuchtet. Die Filmemacher führen in ‘Kamay' die Zuschauer*innen behutsam durch die Trauer einer Familie – und legen zugleich die Ursprünge jahrhundertelanger Unterdrückung offen. Die Regisseure finden eine einzigartige Bildsprache, um die Kultur der Hazara filmisch darzustellen und ihren Stimmen auf einfühlsame und poetische Weise Gehör zu verschaffen.“

https://www.blickpunktfilm.de/kino/festival-gewinner-dokfest-muenchen-vergibt-seine-preise-bd1583ebc844cfc21b22f143d7c09543​​​
The Playmaker sells TWO TO ONE in at the Cannes Film Market
https://variety.com/2024/film/global/the-playmaker-two-to-one-sandra-huller-1235997778/​​​

The Playmaker is thrilled to announce the successful closure of several significant distribution deals bringing Two to One to audiences in France (KMBO), Spain (A Contracorriente), Australia (Madman) and Greece (Rosebud).
Short Synopsis:
In „Two to One,“ a group of clever East-Germans seizes the chaotic post-GDR era in 1990 to retrieve hidden millions from an underground vault. As they outsmart formidable opponents, the heist takes an unexpected turn when money officially unrecognized in the GDR circulates.
Featuring the 2024 Academy Award-nominated Sandra Hüller („Anatomy of a Fall“, „Toni Erdmann“), alongside Max Riemelt („Sense 8“) and Ronald Zehrfeld („Barbara“, „Phoenix“), this historical comedy, based on a true story set in the GDR, promises laughs, unexpected twists, and brilliant performances. From the producers of „Three days in Quiberon“, „Lunchbox“, „War Sailor“, and “Human Factors”, Two to One is a must-watch.
The Playmaker will present “Two to One” in a private screening at the Marché du Film 2024.
 
"Two to One" is a German production by Row Pictures and Zischlermann Filmproduktion, in co-production with ZDF, in cooperation with Arte and Lichtblick Film- und Fernsehproduktion. The film is directed by Natja Brunckhorst, known for her critically acclaimed work on “Alles in Bester Ordnung” and “Wie Feuer und Flamme”. The local distributor for the project is X-Verleih (Germany).

Director’s Bio:
Natja Brunckhorst's career began with her unforgettable portrayal of Christiane F. in the 1981 film CHRISTIANE F. - WIR KINDER VOM BAHNHOF ZOO.  She later transitioned to screenwriting, penning scripts for the television series "Einsatz Hamburg Süd" and several "Tatort" episodes. Her screenplay for FEUER UND FLAMME, drawing from her own life, won her the German Film Award in 2001. Brunckhorst's writing talents also contributed to the award-winning children's film AMELIE RENNT.  She further expanded her repertoire by directing the successful film ALLES IN BESTER ORDNUNG, solidifying her status as a versatile and accomplished filmmaker.
ROW Pictures GmbH
Käthe-Kollwitz-Straße 77
04109 Leipzig / Germany

T +49 341 58 152 140
info@rowpictures.de


Close
Rose
Germany / Austria
2024
Feature Film
Zwei zu Eins
Germany
2024
Feature Film
Kamay
Belgium / Afghanistan / Germany
2024
Feature Film
Someday we'll tell each other everything
Germany
2023
Feature Film
War Sailor (Netflix series)
Norway / Germany / Malta
2023
Series
War Sailor
Norway / Germany / Malta
2022
Feature Film
Three Days in Quiberon
Germany / Austria / France
2018
Feature Film
What Will People Say
Norway / Germany / Sweden
2017
Feature Film
The Young Karl Marx
Germany / France / Belgium
2017
Feature Film
History's future
Netherlands / Germany
2016
Feature Film
Deadweight
Germany
2015
Feature Film
I promise you anarchy
Germany / Mexico
2015
Feature Film
Buddha's little finger
Germany / Canada
2015
Feature Film
Zurich
Netherlands / Germany
2015
Feature Film
My Sweet Pepperland
France / Germany
2014
Feature Film
REIMON
Argentina / Germany
2014
Feature Film
40 days of silence
Netherlands / Uzbekistan / Germany / France
2014
Feature Film
Lunchbox
India / Germany / France
2013
Feature Film
Harmony Lessons
Kazakhstan / Germany / France
2013
Feature Film
Lore
Germany / Australia / UK
2012
Feature Film
Far End Of The Milky Way
Germany
2012
Feature Film
Djeca - Children of Sarajevo
Bosnia-Herzegovina/Turkey/Germany/France
2012
Feature Film
The river used to be a man
Germany
2011
Feature Film
The Slut
Israel/Germany
2011
Feature Film
A Mysterious world
Argentina/Uruguay/Germany
2011
Feature Film
The Big Eden
Germany
2011
Feature Film
Jaffa
Israel / Germany / France
2009
Feature Film
Achterbahn - Catapult
Deutschland
2009
Feature Film
Snow
Bosnia Hercigovina / Germany / France
2008
Feature Film
Transitniki
Germany
Series
Aus Unseren Feuern
Germany
Series
Der Brand
Germany
Feature Film
Close