{"id":104561,"date":"2024-05-23T13:32:03","date_gmt":"2024-05-23T13:32:03","guid":{"rendered":"https:\/\/ucm.one\/%f0%9f%8e%ac-documentary-film-one-hundred-four-nonfy-documentaries-opens-in-german-cinemas\/"},"modified":"2024-05-30T11:32:06","modified_gmt":"2024-05-30T11:32:06","slug":"documentary-film-one-hundred-four-nonfy-documentaries-opens-in-german-cinemas","status":"publish","type":"post","link":"https:\/\/ucm.one\/en\/documentary-film-one-hundred-four-nonfy-documentaries-opens-in-german-cinemas\/","title":{"rendered":"\ud83c\udfac Documentary film \u201cOne Hundred Four\u201d (NONFY Documentaries) opens in German cinemas"},"content":{"rendered":"

[vc_row][vc_column][vc_row_inner][vc_column_inner][vc_column_text css=””]Jonathan Sch\u00f6rnig’s Oscar 2025-qualifying documentary \u201cOne Hundred Four<\/strong>\u201d (German title: “Einhundertvier<\/strong>“) opens today in German cinemas nationwide on the NONFY<\/span> Documentaries<\/strong> film label. The film team will be guests at the Wolf Kino<\/strong> in Berlin this evening to present the film on its theatrical release. An extensive cinema tour will follow in the coming weeks with many special events and various guests on the subject of the private sea rescue of refugees in the Mediterranean.[\/vc_column_text][vc_column_text css=””]This year, the film won the main prize at the \u201cIt’s all true<\/strong>\u201d film festival 2024, the leading documentary film festival in South America, and has thus qualified for submission to the 2025 Oscars<\/strong>. The film received four awards at its world premiere at Dok.Leipzig<\/strong> 2023, including the Golden Dove<\/em><\/strong>.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_single_image image=”101548″ img_size=”full” onclick=”link_image”][\/vc_column][vc_column width=”1\/2″][vc_single_image image=”101550″ img_size=”full” onclick=”link_image”][\/vc_column][\/vc_row][vc_row][vc_column width=”3\/4″][vc_row_inner][vc_column_inner][vc_column_text css=””]The film provides an insight into a rescue operation in the Mediterranean in which 104 people are saved from distress at sea. Jonathan Sch\u00f6rnig<\/strong> was struck by the dilemma of the lack of awareness of these rescue operations and decided to bring a sea rescue to the screen as a real-time documentary to show how agonizingly long it takes to rescue many people from a sinking rubber boat. The film follows the rescue operation step by step with several parallel cameras.[\/vc_column_text][vc_column_text css=””]<\/p>\n

Summary<\/h3>\n

When the Libyan coastguard approaches the German sea rescue boat Eleonore, a hectic rush breaks out among the 104 refugees and the routine rescue operation has to be speeded up. How a sea rescue can take place is beyond imagination. The real-time documentary \u201cOne Hundred and Four\u201d brings this dramatic situation closer. The film shows how agonizingly long it takes to rescue 104 people from a sinking rubber dinghy. Person by person, step by step, the action is accompanied by several parallel cameras.[\/vc_column_text][vc_column_text css=””]The situation comes to a head when the Libyan coastguard appears. The rescued people and the crew wait for days on the high seas, as no Mediterranean country allows them to dock. Only after a terrible storm does the ship reach a European port.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][vc_column width=”1\/4″][vc_single_image image=”104737″ img_size=”full” onclick=”link_image” css=””][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_single_image image=”101554″ img_size=”full” onclick=”link_image” css=””][\/vc_column][vc_column width=”1\/2″][vc_single_image image=”101552″ img_size=”full” onclick=”link_image” css=””][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]Despite media evidence, it remains incomprehensible to those who have not experienced this situation themselves: \u201cWhy are hundreds of people in mortal danger being denied help and the civilian helpers even threatened and criminalized?\u201d<\/strong><\/em>[\/vc_column_text][vc_empty_space height=”20px”][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1713889385625{margin: -3px !important;padding: 3px !important;background-color: #f2f2f2 !important;border: 3px solid #c9c9c9 !important;border-radius: 5px !important;}”][vc_column][vc_empty_space height=”20px”][vc_column_text css=”.vc_custom_1716485496463{margin-bottom: 0px !important;}”]<\/p>\n

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Interview with director Jonathan Sch\u00f6rnig<\/strong><\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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\u201cHow did the movie come about?\u201d<\/em><\/strong><\/p>\n

\u201cI was on this rescue mission as a journalist in 2019. The footage I shot was also used to make several reports for MDR and I realized afterwards that I hadn\u2019t quite finished with the topic yet and that the raw material had a lot more to offer. Whenever I watched excerpts from the raw material, I realized that I myself stayed with it for a very long time and that I found the rescue operation itself exciting.<\/em><\/p>\n

When a rescue like this is shown, it\u2019s always heavily compressed by the editing. I thought that was the best way to show the whole thing, uncut. So that the viewer can experience and understand it. We were only able to view the material properly through the montage in tile mode and noticed in the edit how the tension is carried through the film.<\/em><\/p>\n

I think that people who have seen the film also get a bit of a feel for what it\u2019s like to be involved in a rescue operation like this.\u201d<\/em><\/p>\n

\u201cWhy did you set up and install six cameras?\u201d<\/strong><\/em><\/p>\n

\u201cI knew that I wouldn\u2019t have many opportunities to adequately document all the situations during the rescue. That\u2019s why, together with Johann\u2019s Filous, I thought about where we could install cameras so that we wouldn\u2019t miss anything. It was also important for me to document what was happening on the bridge. Johannes was in the speedboat and I stayed on board. Together with the other cameras, we had a very good overview.\u201d<\/em><\/p>\n

\u201cHow did you feel on board?\u201d<\/strong><\/em><\/p>\n

\u201cYou\u2019re part of the process the whole time and it\u2019s difficult to be a neutral observer. For Johannes and me as journalists on board, it wasn\u2019t easy to concentrate on the documentation.<\/em><\/p>\n

We are part of the whole thing and we eat and sleep on the same ship, but we still have a duty of neutrality.<\/em><\/p>\n

Because we were few crew members and only nine instead of twelve, we had to subordinate ourselves to the ship\u2019s daily routine like everyone else.<\/em><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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The question that was on my mind shortly before setting off for the SAR zone was: What happens if someone drowns in front of me? Do I film or do I intervene and try to save them? I didn’t make a clear decision beforehand, but I had a feeling that if something like that happened, I would intervene in the situation and leave my observer position.\u201d<\/em><\/p>\n

\u201cWhat memories do you have of the people you rescued?\u201d<\/strong><\/em><\/p>\n

\u201cThere were a few that stuck in my mind. For example, Fahad, who became a kind of spokesman for the group and always presented us with solutions when there were problems. In general, we were very lucky with the rescued people. Although they came from different countries and didn’t know each other, they were all very disciplined and patient.<\/em><\/p>\n

We had a day when we wanted to play different board games together that we had on board. After a few minutes, I noticed that there was a disturbance in one group and playing cards were being thrown overboard. After Gerald Karl (deck manager) calmed the situation down, we put Fahad in charge and left the deck as a crew. After a 5-minute discussion among ourselves, Fahad came to us with all the games and said that because it hadn’t worked out, they had decided that they didn’t want to play any more and handed Gerald the neatly packed games.\u201d<\/em><\/p>\n

\u201cWhat was the mood like after the rescue?\u201d<\/strong><\/em><\/p>\n

\u201cRight after the rescue, everyone was very euphoric. However, the adrenaline didn’t wear off until the Libyan coastguard was no longer chasing us. First, everyone was given water and Georg Albiez (the ship’s doctor) took care of the very weak cases. The next day there was a \u201cconsultation hour\u201d where all the rescued people came to see the doctor and injuries were documented and wounds treated.<\/em><\/p>\n

Unfortunately, we couldn’t find the lifeboat we were actually looking for.\u201d<\/em><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

[\/vc_column_text][\/vc_column][vc_column][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”40px”][\/vc_column][\/vc_row][vc_row][vc_column][vc_video link=”https:\/\/www.youtube.com\/watch?v=mKOvjlUYiBk” css=”” title=”One Hundred Four | Theatrical trailer \u1d34\u1d30”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_video link=”https:\/\/www.youtube.com\/watch?v=eW08iJauBl4″ css=”” title=”Interview with Jonathan Sch\u00f6rnig”][\/vc_column][vc_column width=”1\/2″][vc_video link=”https:\/\/www.youtube.com\/watch?v=Hj1ZPa1xc-w” css=”” title=”Interview with Jonathan Sch\u00f6rnig and Klaus Claus-Peter Reisch”][\/vc_column][\/vc_row][vc_row disable_element=”yes”][vc_column][vc_empty_space height=”15px”][vc_separator][vc_row_inner][vc_column_inner width=”1\/4″][vc_btn title=”Amazon” style=”classic” color=”orange” size=”sm” align=”center” i_icon_fontawesome=”fab fa-amazon” button_block=”true” add_icon=”true” link=”url:https%3A%2F%2Fwww.amazon.de%2FUnter-Ausschlu%C3%9F-%C3%96ffentlichkeit-Mediabook-Blu-ray%2Fdp%2FB0BJYD445L|title:Amazon|target:_blank|”][\/vc_column_inner][vc_column_inner width=”1\/4″][vc_btn title=”JPC” style=”classic” color=”success” size=”sm” align=”center” i_icon_fontawesome=”far fa-dot-circle” button_block=”true” add_icon=”true” link=”url:https%3A%2F%2Fwww.jpc.de%2Fjpcng%2Fmovie%2Fdetail%2F-%2Fart%2Funter-ausschluss-der-oeffentlichkeit%2Fhnum%2F11049492|title:JPC|target:_blank|”][\/vc_column_inner][vc_column_inner width=”1\/4″][vc_btn title=”Shop” style=”classic” color=”juicy-pink” size=”sm” align=”center” i_icon_fontawesome=”fas fa-shopping-cart” button_block=”true” add_icon=”true” link=”url:https%3A%2F%2Fucm.one%2Fde%2Fprodukt%2Funter-ausschluss-der-oeffentlichkeit%2F|title:Shop|”][\/vc_column_inner][vc_column_inner width=”1\/4″][vc_btn title=”Wer Streamt Es?” style=”classic” color=”sky” size=”sm” align=”center” i_icon_fontawesome=”fas fa-question-circle” button_block=”true” add_icon=”true” link=”url:https%3A%2F%2Fwww.werstreamt.es%2Ffilm%2Fdetails%2F18994%2Funter-ausschluss-der-oeffentlichkeit%2F|title:Wer%20Streamt%20es|target:_blank|”][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row disable_element=”yes”][vc_column][vc_empty_space height=”25px”][vc_column_text]<\/p>\n

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Technische Daten<\/span><\/p>\n

Mediabook<\/strong>\u00a0| Bildformat: 1:1,33\u00a0<\/span>| Laufzeit: 97 Min | Tonformat: Mono | Bonus: Trailer | Mediabook mit abl\u00f6sbarem FSK-Sticker | FSK 16<\/p>\n<\/div>\n<\/div>\n

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Press reviews<\/span><\/p>\n

\u201cOne Hundred Four\u201d plays the strongest trump card of documentary cinema when it shows (uncommented and largely uncut) what hardly anyone can see with their own eyes. At best, it creates empathy.\u201d<\/em> (S\u00fcddeutsche Zeitung<\/strong>)<\/p>\n

\u201cGrandiose documentary film.\u201d<\/em> (Der Freitag<\/strong>)<\/p>\n

\u201cA cinematic cabinet piece.\u201d<\/em> (Leipziger Volkszeitung<\/strong>)<\/p>\n

\u201cIn real time, Jonathan Sch\u00f6rnig documents the sea rescue of 104 people in the Mediterranean. Parallel montages from up to six camera angles illustrate the drama of the operation with all its dangers and challenges in an unadulterated and highly haunting way.\u201d<\/em> (Cinema<\/strong> [Five Stars]):<\/p>\n

\u201cIt is precisely through the interplay of perspectives that the film creates an authentic clarification of the events. It is a supposedly simple but sophisticated concept.\u201d<\/em> (EPD<\/strong>)<\/p>\n

\u201cJonathan Sch\u00f6rnig’s documentary does not discuss anything at all. It shows – mostly in real time – how a sea rescue is carried out from the rescuers’ point of view in purely technical terms.\u201d<\/em> (Der Tagesspiegel<\/strong>)<\/p>\n

\u201cA documentary film in its purest, purest and most authentic form, which needs no dramaturgical post-processing. The situation alone is dramatic enough because it is so delicate and could lead to a catastrophe at any time.\u201d<\/em> (Kino-Zeit<\/strong>)<\/p>\n

\u201cThe viewer becomes the director. The split-screen aesthetic conveys a wealth of different information, moments and emotions.\u201d<\/em> (Filmdienst<\/strong>)<\/p>\n

\u201cHow a sea rescue can take place is usually beyond the imagination. The real-time documentary \u201cOne Hundred Four\u201d brings this dramatic situation closer.\u201d<\/em> (M\u00fcnchner Merkur<\/strong>)<\/p>\n

\u201cOne Hundred Four” succeeds in evoking an oppressive, emphatic feeling and conveying an authentic impression of a life-threatening sea rescue operation in the Mediterranean that cannot be surpassed in realism.\u201d<\/em> (Arthouse Cinema<\/strong>)
\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1713889385625{margin: -3px !important;padding: 3px !important;background-color: #f2f2f2 !important;border: 3px solid #c9c9c9 !important;border-radius: 5px !important;}”][vc_column][vc_empty_space height=”20px”][vc_column_text css=””]<\/p>\n

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“One Hundred Four\u201d <\/strong>can be seen in the following cinemas in Germany and elsewhere:<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

[\/vc_column_text][vc_empty_space height=”10px”][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=””]<\/p>\n\n\n\n\n\n\n\n\n\n\n
Berlin<\/td>\nKino Neue Zukunft<\/td>\n<\/tr>\n
Wolf Kino<\/td>\n<\/tr>\n
Chemnitz<\/td>\nMetropol<\/td>\n<\/tr>\n
Dresden<\/td>\nSchauburg<\/td>\n<\/tr>\n
Erlangen<\/td>\nLamm – Lichtspiele<\/td>\n<\/tr>\n
Freiburg<\/td>\nKommunales Kino<\/td>\n<\/tr>\n
Gauting<\/td>\nKino Breitwand<\/td>\n<\/tr>\n
Hannover<\/td>\nKino im Sprengel<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_empty_space height=”-20px”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=””]<\/p>\n\n\n\n\n\n\n\n\n\n\n
Cologne<\/td>\nTraumathek<\/td>\n<\/tr>\n
Landsberg<\/td>\nOlympia Filmtheater<\/td>\n<\/tr>\n
Leipzig<\/td>\nLuru in der Spinnerei<\/td>\n<\/tr>\n
Munich<\/td>\nWerkstattkino<\/td>\n<\/tr>\n
Ratzeburg<\/td>\nBurgtheater<\/td>\n<\/tr>\n
Rostock<\/td>\nLichtspieltheater Wundervoll<\/td>\n<\/tr>\n
Weingarten<\/td>\nKulturzentrum Linse (Kino)<\/td>\n<\/tr>\n
W\u00fcrzburg<\/td>\nCentral Programmkino<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_empty_space height=”-20px”][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”20px”][vc_empty_space height=”20px”][vc_single_image image=”101583″ img_size=”full” onclick=”link_image” css=””][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=””]More information about the movie: One Hundred Four<\/a>[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text css=””]More information about the film label: NONFY Documentaries<\/a>[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

[vc_row][vc_column][vc_row_inner][vc_column_inner][vc_column_text css=””]Jonathan Sch\u00f6rnig’s Oscar 2025-qualifying documentary \u201cOne Hundred Four\u201d (German title: “Einhundertvier“) opens today in German cinemas nationwide on the NONFY Documentaries film label. The film team will be guests at the Wolf Kino in Berlin this evening to present the film on its theatrical release. An extensive cinema tour will follow in the coming…<\/p>\n","protected":false},"author":2,"featured_media":104581,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1011,6286,942,941,4627,7530],"tags":[17317,17318,5959,10470,17328,17316,17321,17323,17561,17324,17315,17319,4036,4620,17329,7565,17322,17320],"class_list":["post-104561","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-cinema","category-documentaries","category-film-en","category-news-en","category-nonfy-documentaries-en","category-world-sales","tag-adrian-then-2","tag-castaway","tag-dok-fest-muenchen-2","tag-dokumentarfilm-2","tag-einhundertvier-2","tag-eleonore-2","tag-eu-2","tag-european-union","tag-fish-festival-2","tag-frontex-2","tag-jonathan-schornig","tag-mediterranean-sea","tag-muenchen-en","tag-nonfy-documentaries-en","tag-one-hundred-four-2","tag-rostock-2","tag-sea-rescue","tag-uwe-nitschke-2","category-1011","category-6286","category-942","category-941","category-4627","category-7530","description-off"],"acf":[],"yoast_head":"\n\u201cOne Hundred Four\u201d starts in German cinemas<\/title>\n<meta name=\"description\" content=\"Jonathan Sch\u00f6rnig's documentary \u201cOne Hundred Four\u201d, which has qualified for the 2025 Oscars, opens in German cinemas nationwide today.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/ucm.one\/en\/documentary-film-one-hundred-four-nonfy-documentaries-opens-in-german-cinemas\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u201cOne Hundred Four\u201d starts in German cinemas\" \/>\n<meta property=\"og:description\" content=\"Jonathan Sch\u00f6rnig's documentary \u201cOne Hundred Four\u201d, which has qualified for the 2025 Oscars, opens in German cinemas nationwide today.\" \/>\n<meta property=\"og:url\" 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