In our performance driven and competitive world, Hanna, a young entrepreneur, and Johnny, an aged actor, are confronted with gender and age discrimination. But instead of submitting to the game, they fight it and make their own rules.

  • Simon Kluth
  • Simon Kluth
  • Julius Wieler
  • Malaya Stern Takeda
    Key Cast
  • Reinhold Ohngemach
    Key Cast
  • Jan Robin Weiland
  • Project Type:
    Experimental, Short, Student
  • Runtime:
    6 minutes 50 seconds
  • Completion Date:
    September 30, 2021
  • Country of Origin:
  • Country of Filming:
  • Language:
    No Dialogue
  • Shooting Format:
    Digital, 35mm
  • Aspect Ratio:
  • Film Color:
  • First-time Filmmaker:
  • Student Project:
    Yes - Filmacademy Baden-Wuerttemberg
Director Biography - Simon Kluth

_ violin studies (diploma) at the conservatories Detmold, Hanover and Paris
_ acting studies (B.A.) at the Academy of Performing Arts Baden-Wuerttemberg
_ scholarship holder of the Deutscher Musikwettbewerb (German music competition), Kunststiftung Baden-Wuerttemberg, Claussen-Simon-Stiftung
_ founder and host of the innovative music format "Composer Slam"
_ worked as actor at Staatstheater Heilbronn ("Punching the world"), Schauspiel Stuttgart ("Mermaid Cut"), German Television (ZDF and RTL Productions) and Festival d'Aix-en-Provence ("Innocence")
_ composer of theater music at Staatstheater Cottbus ("Feinstoff")
_scholarship holder of Arts Foundation Baden-Wuerttemberg and Claussen-Simon-Foundation
_ more information on

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Director Statement

Kreisleriana is a cinematic interpretation of Robert Schumann's piano piece "Kreisleriana op.16/8", a composition that always remains mysterious and dangerous due to the ambivalent relationship between melody and bass line. It has many faces and its structure is not always immediately recognizable, as is so often the case with discrimination in our everyday lives.
Kreisleriana is not a film to a musical interpretation, but the film itself IS the interpretation. As a film team, we interpreted the music (i.e. likewise rhythm, dynamics, articulation, etc.) and put our results in a Visual Score. Our pianist then played the piece not primarily from the original score, but from this Visual Score. The resulting piano recording served as a rhythmic framework for our shoot and rough cut. Later, after the final cut, a second piano recording interpreted the film musically.
Therefore, Schumann's composition has undergone several transformations through this process: in the beginning it was the starting point, the source. Then it became film music and finally it reached a whole new level in symbiosis with the film.