When he doesn't tell his girlfriend that he got fired, a young startup manager gradually loses himself in obsession with his former boss and has to fight to save his relationship.

  • Georg Pelzer
  • Georg Pelzer
  • Georg Pelzer
  • Fabian Kloiber
    Key Cast
  • Alissa Borchert
    Key Cast
  • Tobias Schormann
    Key Cast
  • Tamara Theisen
    Key Cast
  • Project Title (Original Language):
  • Project Type:
    Feature, Student
  • Runtime:
    1 hour 40 minutes
  • Completion Date:
    October 23, 2019
  • Country of Origin:
  • Country of Filming:
  • Language:
  • Aspect Ratio:
  • Film Color:
  • First-time Filmmaker:
  • Student Project:
  • 53rd Hof International Film Festival
    October 23, 2019
    World Premiere
    Official Selection, Nominated for "Förderpreis Neues Deutsches Kino" and "Hofer Goldpreis" (Best Director of a debut feature)
  • 30th Kinofest Lünen
    November 14, 2019
    Official Selection
Director Biography - Georg Pelzer

Georg Pelzer, born 1985 in Lahnstein, is a freelance director and author living in Leipzig. He studied Media Art at Bauhaus University Weimar (B.F.A. and M.F.A.) and Film Studies at Oxford Brookes University. While studying, he was also an assistant director at National Theatre Weimar and worked for one year with Robert Wilson on the staging of Via Crucis as collaborating artist.

Georg Pelzer is graduate of the program TP2 and took part in a masterclass in film directing at HfS “Ernst Busch”, Berlin.
Georg Pelzer’s absurd short film Deja-vu was shown internationally at over 50 film festivals, theatre festivals and exhibitions. His last film Neverland Now premiered at Filmfest Dresden and was also invited to numerous festivals worldwide.

In 2019, Georg Pelzer’s debut feature film Fluten has it’s world premiere at 53rd Hof International Film Festival.

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Director Statement

The beginning was an image: a man, drifting in water like a piece of wood, in the hopes of getting washed ashore somewhere. The fear of making a false move and thereby losing everything has paralyzed him, standstill has become his survival strategy. Jonas is symptom of a society of lone fighters that has little room for failure. The more we retract ourselves, the more we subject even our private life to neo-liberal thinking, the more we lose empathy and the ability to love.