GrenzerFahrung

In 2021 Annette Vogel created a very special project: Young adults, professional dancers and wheelchair users did a dancing theatre performance together. This documentation provides a glimpse into the production as well as in the personal sphere of the protagonists.

Wheelchair users meet professional dancers and create true inclusion.

  • Hubertus Hinse
    Director
  • Hubertus Hinse
    Writer
  • Hubertus Hinse
    Producer
  • Project Type:
    Documentary
  • Runtime:
    19 minutes 40 seconds
  • Completion Date:
    January 1, 2022
  • Production Budget:
    2,000 USD
  • Country of Origin:
    Germany
  • Country of Filming:
    Germany
  • Language:
    German
  • Shooting Format:
    Digital
  • Film Color:
    Color
  • First-time Filmmaker:
    No
  • Student Project:
    No
Distribution Information
  • Hubertus Hinse
    Country: Germany
    Rights: All Rights
Director Biography - Hubertus Hinse

Hubertus Hinse relocated to Regensburg, Germany, in 1993 to continue his studies of information science, psychology and German philology. He is cofounder of the company „Stadtmaus“, which won the Bavarian Innovation Award in the category tourism.
As trained drama teacher, qualified by the education association in Germany (BUT), the free artist coaches theatre, fencing and stage combat workshops, works as an actor, director and moderator and stages openair performances in the Upper Palatinate and Lower Bavaria.
He writes and acts for the children ́s theater production „Fjonn of the isles“ and - so far - published four audiobooks as coproduction of the „Stadtmaus“ and „micro music“ in Sinzing. His short movie „strange“ was nominated for the austrian zeitimpuls award.
His novel "Drudenherz" was first published in 2017, the film adaption debuted 2019 in Bavaria.

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Director Statement

Accompanying this project was an exciting challenge. Every day was different, every day was new. The dancers' rehearsals lived from improvisation and the many small everyday obstacles that sometimes threatened to let an idea fail, but sometimes also lead to completely new ideas.
The camera was not allowed to interfere, but still had to be as close up as possible.
In the beginning none of the dancers dared to give an interview. But trust grew and after a few weeks during a coffee break suddenly everybody started talking. So the interviews were not made in the studio, but in the locker room. For me that was a wonderful experience.