Experiencing Interruptions?

Cherry Blossoms & Demons

Ten years after the death of his parents Rudi (Elmar Wepper) and Trudi (Hannelore Elsner), youngest son Karl’s (Golo Euler) life is in ruins: he has lost his job, lives sepa- rated from his wife and child and can only appease his dark, inner demons with large amounts of alcohol. Karl no longer knows who he is. Suddenly, Yu (Aya Irizuki) pops up like a hallucination, amazing and shrouded in mystery. Yu appears like a sign from a past world and turns Karl’s life upside down. Karl very reluctantly accompanies her to his parents’ empty house in Bavaria - the memories of his parents and his own, difficult childhood are all too vivid. Why won’t Karl’s dead parents let him go? What demons are pursuing him? Yu’s Japanese origins mean she has experience with demons and ghosts. Supported by Yu, with whom he falls more and more in love, Karl fights against himself and his past - in order to do this he nearly dies and has to travel to Japan to find out if he is already a ghost himself or still alive after all.

  • Doris Dörrie
  • Doris Dörrie
  • Anita Schneider
  • Viola Jäger
  • Golo Euler
    Key Cast
  • Aya Irizuki
    Key Cast
  • Kiki Kirin
    Key Cast
    "Yus Grandmother"
  • Hannelore Elsner
    Key Cast
  • Elmar Wepper
    Key Cast
  • Felix Eitner
    Key Cast
  • Floriane Daniel
    Key Cast
  • Birgit Minichmayr
    Key Cast
  • Sophie Rogall
    Key Cast
  • Project Title (Original Language):
    Kirschblüten & Dämonen
  • Project Type:
  • Runtime:
    1 hour 50 minutes
  • Completion Date:
    February 1, 2019
  • Country of Origin:
  • Country of Filming:
    Germany, Japan
  • Language:
    English, German, Japanese
  • Shooting Format:
  • Aspect Ratio:
  • Film Color:
  • First-time Filmmaker:
  • Student Project:
  • German domnestic cinema release 7.3.2019
  • Vancouver International Film Festival
    October 4, 2019
    North America Premiere
    World Panorama
  • Mill Valley Film Festival
    Mill Valley
    United States
    October 7, 2019
    US Premiere
    World Panorama
  • German Film Festival Singapore
    October 25, 2019
    Singapore Premiere
    official selection
  • Kolkata International Film Festival
    November 12, 2019
    Indian premiere
    official international competition
  • Interntaional Film Festival of India
    November 23, 2019
    World Panorama
  • Tallinn Black Nights Film Festival
    November 28, 2019
    Baltic Premiere
    Signatures, New German Films
  • Berlin & Byond Film Festival
    San Francisco
    United States
Distribution Information
  • Constantin Film AG
    Country: Germany
    Rights: All Rights
Director Biography - Doris Dörrie

Doris Dörrie (born in Hanover on 26 May 1955) is one of the most important and successful female filmmakers in Germany and international arthouse cinema. She has been represented at countless renowned festivals all over the world with her more than 30 feature films and documentaries. In 2002 she was invited to Venice Film Festival to take part in the Golden Lion competition with her film “NAKED”. In 2008 she competed for the Golden Bear at the Berlin International Film Festival with her work “CHERRY BLOSSOMS - HANAMI”. The film was subsequently seen at movie theaters by more than 1 million cinema goers in Germany alone. Another glittering highlight of her festival career was her appointment to the Feature Film Jury chaired by David Cronenberg in Cannes in 1999. Additionally, her films have also been shown at, among other places, internationally renowned film festivals in Toronto (“AM I BEAUTIFUL”), Rotterdam, Tallinn and Tokyo (“ENLIGHTENMENT GUARANTEED”), Moscow and Rio (“THE WHOLE SHE- BANG”), Palm Springs, Montreal, Goa,
Havana (“CHERRY BLOSSOMS - HANAMI”), Cairo (“MEN”), Los Angeles, Warsaw and Seattle (“HOW TO COOK YOUR LIFE”) as well as in Shanghai, Sydney, Sao Paulo and Guadalajara (“GREETINGS FROM FUKUSHIMA”). Doris Dörrie herself and her films have received numerous awards (including the German Film Award and the Bavarian Film Award). Since 1997 Dörrie, who now lives in Munich, has also been a Professor of Creative Writing at the Munich University of Television and Film. In 2019, Doris Dörrie was invited to join the famous Academy of Motion Picture Arts and Sciences as a screenwriter. Every year, the organisation decides on the most important film awards in the world, the Academy Awards (Oscars). In addition to her cinema work, Doris Dörrie is also an author of short stories, novels and childrens‘ books and an opera director. Her love of music theater has already taken her to the Berlin State Opera, the Salzburg Festival and the Bavarian State Opera in Munich in the role of director.

Add Director Biography
Director Statement

In my first film CHERRY BLOSSOMS - HANAMI the old parents visit their children, who all have no time for them, and Rudi Angermeier verifies this: children are so disappointing. It was the story of parents who could no longer bridge the distance to their children, no longer find their way to them before they die.
I have always wondered what children’s views of their parents are, and in this film CHERRY BLOSSOMS & DEMONS, I want to tell it. Especially from the perspective of the youngest son, Karl, who was always seen as the mummy’s boy by the siblings and who had gone all the way to Tokyo to free himself from his mother. Now his parents have been dead for ten years and Karl has returned to Munich. He drinks, lives separated from his wife and child, has lost his job and is slowly drifting downhill. He has no more strength within him; even his own life frightens him. His dead parents will not let him go, his siblings want to sell the house they all inherited but he refuses to sell it yet at the same time does not want to live in it either. The ghosts of the past are blocking him and one day, like a scene from a classic Japanese ghost film, a young woman with long, black hair appears and claims that she loves him. It is Yu, who had helped Rudi, who had been wandering aimlessly around Tokyo and deeply mourning his wife, to find Fuji. Yu now sets a story in motion that is inspired by the Orient but set in Bavaria, where not only Karl’s family members of the last few generations arrive but also Yu’s. The generation of Nazi grandparents on both sides, the silent parents, full of shame, and their children, who are so sad but cannot understand their own sadness at all. Karl struggles and fights with these very real ghosts, and entirely new aspects of Rudi’s and Trudi’s behaviour become visible. How wrong children can be in the way they think about their parents. How little they really know about them. How hard they try not to disappoint them. Even after they are gone. Why won’t Karl’s dead parents let him go? What demons pursue Karl? Yu has experience with demons and ghosts, which is because of her Japanese origins. There, they are very real and powerful, and you learn how to deal with them as a child: you invite them in for a cup of tea.
My intention is to tell a story that was inspired by the East but takes place in the West, the reversal and continuation of Cherry Blossoms, and tell it very realistically because our dead live through our memories and our demons are often very real. Only cinema can treat this phenomenon nonchalantly and realistically. Only there can parents Rudi and Trudi really appear as if they were not dead. Only there can fantastic demons appear who are reminiscent of Perchten, both Bavarian and Japanese ones. The intermixture of elements should be similar to that in CHERRY BLOSSOMS – HANAMI in terms of style, moving, almost documentary, light and with great poetry. I would like to use close proximity to explore the inner truth of the characters, of
both the children and the parents, their very own, unique inner beauty and ugliness, their contradictions, which make them human and which are the engine of the story - right through to the question of how one actually knows if one is dead or alive. This gives the story something shimmering, something abysmal and touches on very deep emotions that we are all aware of, fear of not doing justice to our real identity, of not really having found ourselves, or not really being alive. But at the same time, as in all of my films, there is still no lack of comedy for all that, and Karl’s radical transformation has absurd and comical traits, just as everyone’s struggles for truth do. So this is a deeply sad comedy - just like life.