https://marvinhesse.com marvinhesse.com Fri, 24 Oct 2025 14:41:16 +0000 https://marvinhesse.com en https://marvinhesse.com/Home Wed, 04 Jan 2023 16:58:50 +0000 marvinhesse.com https://marvinhesse.com/Home https://marvinhesse.com/Daniel-Richter Wed, 04 Jan 2023 21:54:30 +0000 marvinhesse.com https://marvinhesse.com/Daniel-Richter Daniel Richter cinematography – in collaboaration with Daniel Gottschalk feature–documentary 106min,&nbsp; 2023 dir.&nbsp; &nbsp; &nbsp; Pepe Danquart prod.&nbsp; b14 Film, Vanessa Nöcker, Benjamin Seikel in theaters: Feb. 2nd 2023 Few artist portraits give us the privilege of getting as close to the painter as if we had free access to his studio. Over a period of three years, Pepe Danquart got to accompany the painter Daniel Richter, watching him paint, negotiate with his gallerist, talk to his publisher and joke with fellow artist Jonathan Meese. Danquart interviews collectors, attends auctions and even visits record shops.From all this the complex image of an artist emerges who appreciates the abstract as much as the figurative and who seems to be searching constantly for the meaning of his work. Daniel Richter’s paintings fetch top prices on the art market – an aspect that neither Pepe Danquart nor the painter leave out, but that is, fortunately, not the focus here. Openings, auctions and gala dinners structure the narrative, but its heart is Richter’s studio, where we see him as a craftsman, a restless doer, who reflects surprisingly frankly and self-deprecatingly on his work, which to him is always also a political act. He talks about the process of creation, the effect, meaning and significance of his paintings, makes clear statements and, notwithstanding a certain amount of craving for recognition, ultimately doesn’t take himself more seriously than necessary. Words: Christoph Terhechte, DOK-Leipzig 2022&nbsp; <img width="1279" height="531" width_o="1279" height_o="531" data-src="https://freight.cargo.site/t/original/i/6a02343e33aee8a49c88ede672f7023796c4eed11a5a038c9f4820a39b7fc826/DR-Top.png" data-mid="164988277" border="0" src="https://freight.cargo.site/w/1000/i/6a02343e33aee8a49c88ede672f7023796c4eed11a5a038c9f4820a39b7fc826/DR-Top.png" /> <img width="1280" height="532" width_o="1280" height_o="532" data-src="https://freight.cargo.site/t/original/i/559109a752f64a74eeb89583632ebbb24e40112dcf9b1a1a4d5fdaebc272f87c/DR-Atelier.png" data-mid="163638479" border="0" src="https://freight.cargo.site/w/1000/i/559109a752f64a74eeb89583632ebbb24e40112dcf9b1a1a4d5fdaebc272f87c/DR-Atelier.png" /> <img width="1278" height="529" width_o="1278" height_o="529" data-src="https://freight.cargo.site/t/original/i/f2392172d9d68e18cb3167372afb0701a39de8930057ac19b6073c4206bb9b54/DR-TalR.png" data-mid="164988276" border="0" src="https://freight.cargo.site/w/1000/i/f2392172d9d68e18cb3167372afb0701a39de8930057ac19b6073c4206bb9b54/DR-TalR.png" /> <img width="1253" height="521" width_o="1253" height_o="521" data-src="https://freight.cargo.site/t/original/i/1cd3675bebb1948b1612d2b4864cb81f07b01e58c825ffcd0d4443b5fe6c1bbc/DR-DOC-NY-JORG.png" data-mid="164988834" border="0" src="https://freight.cargo.site/w/1000/i/1cd3675bebb1948b1612d2b4864cb81f07b01e58c825ffcd0d4443b5fe6c1bbc/DR-DOC-NY-JORG.png" /> <img width="1281" height="532" width_o="1281" height_o="532" data-src="https://freight.cargo.site/t/original/i/4a0481a235c0c2fe9115464fe9bacdf54bb341bcd5c1c08570f8879b01236559/DR-Falkenberg.png" data-mid="164988278" border="0" src="https://freight.cargo.site/w/1000/i/4a0481a235c0c2fe9115464fe9bacdf54bb341bcd5c1c08570f8879b01236559/DR-Falkenberg.png" /> <img width="1281" height="532" width_o="1281" height_o="532" data-src="https://freight.cargo.site/t/original/i/399a30921418d893eb61cc47d18ebdda5f55829ce328b4a2f6eb3db91e067044/DR-Meese.png" data-mid="164988320" border="0" src="https://freight.cargo.site/w/1000/i/399a30921418d893eb61cc47d18ebdda5f55829ce328b4a2f6eb3db91e067044/DR-Meese.png" /> https://marvinhesse.com/everyone-in-hawaii-has-a-sixpack Tue, 17 Jan 2023 16:13:49 +0000 marvinhesse.com https://marvinhesse.com/everyone-in-hawaii-has-a-sixpack EVERYONE IN HAWAII HAS A SIXPACK ALREADY documentary 58min.&nbsp; 2018 dir./dp&nbsp; Marvin Hesseco-dir.&nbsp; Salka Tiziana prod.&nbsp; &nbsp; Marvin Hesse everyone-film.com Festivals: IFFR Rotterdam 2018, NL — BrightFuture 15. Hamburger Dokumentarfilmwoche GER — Dokland Festival de Malaga 2018 ES — official selection Cine Latino Tübingen GER — official selection D’A Barcelona 2018 ES — Sala Jove D'A's opening Film IberoDocs 2018, Glasgow SCT — official selection DocumentaMadrid ES— national competition dokumentART 2018 GER — national competition doxs! 2018 Duisburg GER — „große klappe“ nominee RedRockFilmfestival 2018 USA— official selection 35. Kasseler Dokfest GER— junges dokfest A38 nominee Bangkok Underground Filmfestival THA — official selection &nbsp;A portrait of lively adolescence in a paradisiacal corner of the Canary Islands; one last summer of hedonism, dreams and hormones before it all ends: the island throws out all young people at the age of fifteen, and they are about to get thrown out of heaven."Everyone in Hawaii has a Sixpack Already is a film that manages to capture pleasure on the edge of the abyss.“&nbsp;cinemaldito.com <img width="1980" height="1114" width_o="1980" height_o="1114" data-src="https://freight.cargo.site/t/original/i/e26dcc15d9913b6d8e03026f7a6d84e23491d8861be2fe87c3cc1abd8957bb1a/STILL-02-EVERYONE-IN-HAWAII-HAS-A-SIXPACK-ALREADY-300dpi.jpg" data-mid="165036561" border="0" src="https://freight.cargo.site/w/1000/i/e26dcc15d9913b6d8e03026f7a6d84e23491d8861be2fe87c3cc1abd8957bb1a/STILL-02-EVERYONE-IN-HAWAII-HAS-A-SIXPACK-ALREADY-300dpi.jpg" /> <img width="1980" height="1114" width_o="1980" height_o="1114" data-src="https://freight.cargo.site/t/original/i/3413d810261ed623db50b588cc4acd5be70cfd5fd17826ee3fb96dc6ab22aaf2/STILL-04-EVERYONE-IN-HAWAII-HAS-A-SIXPACK-ALREADY-300dpi.jpg" data-mid="165036563" border="0" src="https://freight.cargo.site/w/1000/i/3413d810261ed623db50b588cc4acd5be70cfd5fd17826ee3fb96dc6ab22aaf2/STILL-04-EVERYONE-IN-HAWAII-HAS-A-SIXPACK-ALREADY-300dpi.jpg" /> <img width="1980" height="1113" width_o="1980" height_o="1113" data-src="https://freight.cargo.site/t/original/i/c784ed42eea1d8ea19338345d5ff4b28272612843b1c565f645b870022ffa232/STILL-03-EVERYONE-IN-HAWAII-HAS-A-SIXPACK-ALREADY-300dpi-.jpg" data-mid="165036562" border="0" src="https://freight.cargo.site/w/1000/i/c784ed42eea1d8ea19338345d5ff4b28272612843b1c565f645b870022ffa232/STILL-03-EVERYONE-IN-HAWAII-HAS-A-SIXPACK-ALREADY-300dpi-.jpg" /> <img width="1980" height="1114" width_o="1980" height_o="1114" data-src="https://freight.cargo.site/t/original/i/5e3a9cb634fccc586f4f335508b08111ae205e5b9c8cc413d91d8259a02f88e3/STILL-05-EVERYONE-IN-HAWAII-HAS-A-SIXPACK-ALREADY-300dpi.jpeg" data-mid="165036564" border="0" src="https://freight.cargo.site/w/1000/i/5e3a9cb634fccc586f4f335508b08111ae205e5b9c8cc413d91d8259a02f88e3/STILL-05-EVERYONE-IN-HAWAII-HAS-A-SIXPACK-ALREADY-300dpi.jpeg" /> https://marvinhesse.com/not-how-or-when-or-why-but-yes Tue, 17 Jan 2023 10:54:54 +0000 marvinhesse.com https://marvinhesse.com/not-how-or-when-or-why-but-yes not how or when or why but yes feature–documentary 63min,&nbsp; 2022 dir./dp&nbsp; Marvin Hesseco-dir.&nbsp; Lea Semen&nbsp; &nbsp; prod. &nbsp; &nbsp;Sabbatical Office Film, Marvin Hesse, Lea Semen commissened by ZDF/3sat Kaiya (23) is doing Interrail. She travels criss-cross through Europe. Faces, conversations, landscapes in the train window, everything merges. Everything becomes ephemeral. Paris, Belgrade, Sofia. She drinks coffee, visits exhibitions, writes, takes pictures, chats with others. Everything could be the beginning or the end of something, you think. But there she is already on the train again. Talking to the camera or to the person behind it. And with herself. NOT NOW OR WHEN OR WHY BUT YES is a wilful visual diary. About traveling and perceiving. The story of an artistic co-production of the protagonist and the filmmaker. In Kaiyas words: The problem is: It’s not mine to talk about and why should I get to be spokesperson? I don’t want to say it wrong or make it sound any less scarily complex than it really is. And to say I feel guilty, for the fact that I could walk away, for the fact that I look for creative ways to process my surroundings while some people just have to strive and struggle. For the fact I even have the chance to sit on a windowsill and talk about it and not quite explain it right and so desperately want to – but still not. Kaiya Bartholomew (23), Note from her Diary June 2019 &nbsp; <img width="1161" height="1646" width_o="1161" height_o="1646" data-src="https://freight.cargo.site/t/original/i/9016665e6004ae6d5d81b65b0bf060ad3733f1f0fac3c6d8640182e2d033dda2/NHOWOWBY_Poster_Prev_V01_small.jpg" data-mid="164994619" border="0" src="https://freight.cargo.site/w/1000/i/9016665e6004ae6d5d81b65b0bf060ad3733f1f0fac3c6d8640182e2d033dda2/NHOWOWBY_Poster_Prev_V01_small.jpg" /> <img width="6000" height="4500" width_o="6000" height_o="4500" data-src="https://freight.cargo.site/t/original/i/0ff7d886bed34ac092d04941bba9030525a1ac7b5fdc71921dc00d6e71e438dd/NHOWOWBY-Still-01-JPG.jpg" data-mid="164994435" border="0" src="https://freight.cargo.site/w/1000/i/0ff7d886bed34ac092d04941bba9030525a1ac7b5fdc71921dc00d6e71e438dd/NHOWOWBY-Still-01-JPG.jpg" /> <img width="6000" height="4500" width_o="6000" height_o="4500" data-src="https://freight.cargo.site/t/original/i/21f7c4567cbb38eec8b590159f1d18733ca367fa3e2596e6488041d79e91d6af/NHOWOWBY-Still-04-JPG.jpg" data-mid="164994441" border="0" src="https://freight.cargo.site/w/1000/i/21f7c4567cbb38eec8b590159f1d18733ca367fa3e2596e6488041d79e91d6af/NHOWOWBY-Still-04-JPG.jpg" /> <img width="6000" height="4500" width_o="6000" height_o="4500" data-src="https://freight.cargo.site/t/original/i/8c80bf10810fb95dc8f0f9aea5863371ac45afdb6fba260ede10eeb28e4fdf01/NHOWOWBY-Still-03-JPG.jpg" data-mid="164994439" border="0" src="https://freight.cargo.site/w/1000/i/8c80bf10810fb95dc8f0f9aea5863371ac45afdb6fba260ede10eeb28e4fdf01/NHOWOWBY-Still-03-JPG.jpg" /> <img width="6000" height="4500" width_o="6000" height_o="4500" data-src="https://freight.cargo.site/t/original/i/dac13d26ab057e951658001b96caecd23cedbdfe10f0005cf7ce360facdfaa62/NHOWOWBY-Still-05-JPG.jpg" data-mid="164994442" border="0" src="https://freight.cargo.site/w/1000/i/dac13d26ab057e951658001b96caecd23cedbdfe10f0005cf7ce360facdfaa62/NHOWOWBY-Still-05-JPG.jpg" /> THE DISCOVERY OF THE CONTINENT KAIYA Clouds, a herd of sheep, a grazing cow from behind, a river bed, bus stops, grain silos, clouds, rest areas, industry, power poles, tunnel, mountains, clouds. Kaiya is on the train. She travels cross-Europe. Anonymous places string together and separate again, faces and conversations merge. Like clouds. Kaiya “is doing Interrail”, as it was called in the 1970s, when this affordable train combo ticket still meant the way to the absolute open air. Usually after school or before graduation, the citizen-parents handed their citizen-children over to the care of European railway companies and thus released them, sheltered in a certain way, into neighboring European countries. The splinted route into liberty. Freedom that delivered the feeling of a wild, hippieesque life – despite the fully developed rail network. Even if there was no freeway, no desert dirt tracks, no greater danger than missed connections. But at least you could get on and off as you pleased. Utilising a hedonistically confused self as a compass. Oh, Interrail! The magic word that has you click the heels of your red shoes in order to escape the everygrey familiar. So much for the myth of Interrail, which you should definitely know about when taking a seat in Marvin Hesse‘s NOT NOW OR WHEN OR WHY BUT YES. Kaiya, the protagonist, a 23-year-old British student. She is not a daughter of the middle classes, and it‘s not the 1970s, train travel is “retro” and at the same time CO2-friendly transport sparing you flight shame. The Interrail ticket still exists, it is even subsidized1 by the EU, for the children of past-tense parents, for the descendants of Generation X, of parents who once were distant relatives of Linklater‘s Slacker or Salinger’s Catcher in the Rye. Interrail is a promise for those considering the world less a will than an idea. Interrail was and still is a projection whose cinematic quality becomes once again palpable in NOT NOW OR WHEN OR WHY BUT YES. The train journey as a quintessentially cinematic hetereotopia. An ephemeral home in which one is moved while sitting. That you yield your seat to others after a certain time belongs to the basic makeup, just as in cinema. The train ride’s diegetic space is a world racing by behind the window. You see an exclusive moving image presenting fields, forests, suburbs, and cities – an illusionary space-time phenomenon created in the minds of travelers and cinema audience alike. This is also why the agenda of Kaiya’s journey does not need any logical order. Paris, London, Sofia, Belgrade, somewhere in between Dover. The change between reality and its possibilities accompanies the protagonist Kaiya and the filmmaker Marvin Hesse on their way across a continent. It is a crossover of travelogue and inverted cinema direct: of unrestrained subjectivity and tolerated observation. Marvin Hesse is not a fly on the wall. He belongs to the sneaker caught by a camera tipping to the floor, to the breath on the soundtrack after a more exhausting “chase”. He is there, all the time, behind the apparatus to which Kaiya willingly exposes herself. Even with her sensations, opinions, her powerlessness. She reflects on the medium, its appropriations, and speculations, she is assailed by a guilty conscience regarding her ability to travel, to cross borders, borders that in the end do not secure a humanistic European vision but Western wealth, borders hardly bridgeable for migrants. She fumbles for words that all too easily might trigger fremdscham – the feeling of being embarrassed on her behalf – and the impulse to take refuge in one’s own imperturbation. But Kaiya takes risks. She talks so unhamperedly, it sometimes hurts. She laughs, she flirts, she babbles. It stays in the film. Because it happened at that moment. Kaiya takes nothing back. Whatever gets caught, forms a thought or becomes an image, Kaiya has jotted it down, drawn, spoken, played it. It joins the loose sequence of encounters. Ephemeral and fleeting. Like everything else does, when you travel, and life and time push past the train window as if on a screen. Marvin Hesse’s film lives from the rhythm of movement, from the ostensible arbitrariness with which places are entered and left, from all the discontinued contacts, the colours of the cities and the undertones of moods. You can feel when Kaiya is annoyed, see when she brushed the camera off, when she uses the camera gaze against or for herself. She is the one who decides to keep instabilities, and thus, in a way, offers the film “climaxes” that are dramaturgically useful. She reflects the medium, the situation of recording, the “we” and the “I”. Hesse’s camera is characterised by how it does not let go. It keeps at it. At Kaiya looking out of the train window, nodding off on the upholstered seats, drinking coffee in somewhere, and looking out of the train window again. The camera tells about the discovery of a continent that naturally cannot be further than Kaiya’s gaze, Kaiya’s sleep, Kaiya’s train of thoughts, Kaiya’s drawings, Kaiya’s photographs. Just the continent of Kaiya – Marvin Hesse is her ethnographer, her chronicler. She is his image. And her own. This makes NOT NOW OR WHEN OR WHY BUT YES a special artistic co-production of model, voice, and cinematography. by Birgit Glombitza 1 Refering to the DiscoverEU Program wich started in 2018 &nbsp; &nbsp; https://marvinhesse.com/Macht-Licht-1 Tue, 24 Jan 2023 20:05:08 +0000 marvinhesse.com https://marvinhesse.com/Macht-Licht-1 Macht Licht – Light&amp;Power kinetic sculpture&nbsp; 2020by&nbsp; Marvin Hesse <img width="1228" height="1818" width_o="1228" height_o="1818" data-src="https://freight.cargo.site/t/original/i/ed3a43a5f377b6ed5462949ba3453de872a8fd2b6bc2a9105a7f7a714db56c6f/F1000022x.jpg" data-mid="165875642" border="0" src="https://freight.cargo.site/w/1000/i/ed3a43a5f377b6ed5462949ba3453de872a8fd2b6bc2a9105a7f7a714db56c6f/F1000022x.jpg" /> Which role does artificial light play in the human connection to force, power, violence, control? What happens if I set this light source free and largely remove it from control? Light, a term that tends to have positive connotations – force, a rather negative one often used to describe a dark component of something. An ambivalent field of tension: What if the positive is powerful? Power describes a construct characterized by structure and orientation – it includes and excludes – creates contrasts. What is the connection between light, orientation, identity and power? _______________ The ability to bring light into darkness, thereby structuring time and space and thus determining life, has long been outside of the human skillset. Life’s structure has been set by nature, by day and night. Only as the people settled down, a first self-determined structuring began, the structuring of space and land. (...) territory developed into a means of expressing power. Wars became conducted to increase areas of influence, open up access and determine habitats. Even if artificial light has not played a decisive role there for thousands of years, the impenetrable darkness of the moonless night did. Night is still the preferred time of the assailant. The nights low contrast, makes differences only hard to discern, object and environment merge into one another. Being able to distinguish is a substantial ability to wield power. So darkness was increasingly perceived as a territory – territory which had to be mastered.&nbsp;So time was settled. Excerpt: Licht und Macht by Marvin Hesse 360° View – For mobile devices: Watch on YouTube and turn your device &nbsp; &nbsp; <img width="1500" height="1079" width_o="1500" height_o="1079" data-src="https://freight.cargo.site/t/original/i/b6742396d131722101b114d096d17db8f8e6737192d2cef2212e47c19b30d87d/033-paulette-goddard-and-charlie-chaplin-theredlist.jpg" data-mid="166005257" border="0" src="https://freight.cargo.site/w/1000/i/b6742396d131722101b114d096d17db8f8e6737192d2cef2212e47c19b30d87d/033-paulette-goddard-and-charlie-chaplin-theredlist.jpg" /> <img width="796" height="912" width_o="796" height_o="912" data-src="https://freight.cargo.site/t/original/i/6fa444800ae46e40b41ef90485a70136e286e65333f36c871e7449e83eda490d/Screen-Shot-2020-02-08-at-02.03.53.png" data-mid="165882116" border="0" src="https://freight.cargo.site/w/796/i/6fa444800ae46e40b41ef90485a70136e286e65333f36c871e7449e83eda490d/Screen-Shot-2020-02-08-at-02.03.53.png" /> <img width="565" height="773" width_o="565" height_o="773" data-src="https://freight.cargo.site/t/original/i/6663436832a8d96d4af055a79a6abe7357ed325cd69c608ea1c507c7ab649b6e/DPBlg.jpg" data-mid="166000188" border="0" src="https://freight.cargo.site/w/565/i/6663436832a8d96d4af055a79a6abe7357ed325cd69c608ea1c507c7ab649b6e/DPBlg.jpg" /> <img width="2560" height="1092" width_o="2560" height_o="1092" data-src="https://freight.cargo.site/t/original/i/e78ba2a3694b25d7f26010d8414288b25b22276d9faf8c01463db5c7b752b05e/Screen-Shot-2019-10-22-at-09.55.50.png" data-mid="165999156" border="0" src="https://freight.cargo.site/w/1000/i/e78ba2a3694b25d7f26010d8414288b25b22276d9faf8c01463db5c7b752b05e/Screen-Shot-2019-10-22-at-09.55.50.png" /> <img width="603" height="553" width_o="603" height_o="553" data-src="https://freight.cargo.site/t/original/i/0785aad5bc29aa9f5f6b40cbc76e06c65009d44c28f965716a84ab634628b016/Scheinwerfer2.jpg" data-mid="165882114" border="0" src="https://freight.cargo.site/w/603/i/0785aad5bc29aa9f5f6b40cbc76e06c65009d44c28f965716a84ab634628b016/Scheinwerfer2.jpg" /> <img width="1100" height="760" width_o="1100" height_o="760" data-src="https://freight.cargo.site/t/original/i/57ba4d5dd2d1a8559ff592bd4ccef5a223a8f3d06f70998696c2e34288d26e27/Loie_Fuller.jpg" data-mid="165882113" border="0" src="https://freight.cargo.site/w/1000/i/57ba4d5dd2d1a8559ff592bd4ccef5a223a8f3d06f70998696c2e34288d26e27/Loie_Fuller.jpg" /> <img width="763" height="614" width_o="763" height_o="614" data-src="https://freight.cargo.site/t/original/i/517bfb9b4ec654068bef11986c841475db854c02ad7ea8c234b84f0702a5b6c7/JOSEPH-WRIGHT-OF-DERBY-ARKWRIGHT-S-COTTON-MILLS-BY-NIGHT.JPG" data-mid="165882111" border="0" src="https://freight.cargo.site/w/763/i/517bfb9b4ec654068bef11986c841475db854c02ad7ea8c234b84f0702a5b6c7/JOSEPH-WRIGHT-OF-DERBY-ARKWRIGHT-S-COTTON-MILLS-BY-NIGHT.JPG" /> <img width="900" height="572" width_o="900" height_o="572" data-src="https://freight.cargo.site/t/original/i/f7ce8a365f907239f035b67955f5005d64f61790590876300d68da695e509f7e/heraldsquarepostcardnight.jpg" data-mid="165882108" border="0" src="https://freight.cargo.site/w/900/i/f7ce8a365f907239f035b67955f5005d64f61790590876300d68da695e509f7e/heraldsquarepostcardnight.jpg" /> <img width="796" height="1200" width_o="796" height_o="1200" data-src="https://freight.cargo.site/t/original/i/ca234b76bdf88363757df2377b7c5ed06cf9f3e55af752a14ac76aa459f29a4d/Bohemian_Paris_of_to-day_1900_14783742913.jpg" data-mid="165882096" border="0" src="https://freight.cargo.site/w/796/i/ca234b76bdf88363757df2377b7c5ed06cf9f3e55af752a14ac76aa459f29a4d/Bohemian_Paris_of_to-day_1900_14783742913.jpg" /> <img width="1228" height="1818" width_o="1228" height_o="1818" data-src="https://freight.cargo.site/t/original/i/d1ab868f5005eee7355057885f8c6616f4d95f370d79a0decfd088fc362a677c/F1000011.jpg" data-mid="165882099" border="0" src="https://freight.cargo.site/w/1000/i/d1ab868f5005eee7355057885f8c6616f4d95f370d79a0decfd088fc362a677c/F1000011.jpg" /> <img width="1228" height="1818" width_o="1228" height_o="1818" data-src="https://freight.cargo.site/t/original/i/46a6800f6b9122cec3b6c48ac1b4ebca32c80f292f931467032e0875c7969689/F1000013.jpg" data-mid="165882100" border="0" src="https://freight.cargo.site/w/1000/i/46a6800f6b9122cec3b6c48ac1b4ebca32c80f292f931467032e0875c7969689/F1000013.jpg" /> <img width="1228" height="1818" width_o="1228" height_o="1818" data-src="https://freight.cargo.site/t/original/i/b503f6c70ce52a6abad8ad1bdde2527cb07730fe337b8c76d885b8b3c48eaa70/F1000023.jpg" data-mid="165882107" border="0" src="https://freight.cargo.site/w/1000/i/b503f6c70ce52a6abad8ad1bdde2527cb07730fe337b8c76d885b8b3c48eaa70/F1000023.jpg" /> <img width="1228" height="1818" width_o="1228" height_o="1818" data-src="https://freight.cargo.site/t/original/i/89fdfa95a27166ea6f93afbe4d3195705c32188cd23df9da1287641d03f3afc7/F1000002.jpg" data-mid="165882098" border="0" src="https://freight.cargo.site/w/1000/i/89fdfa95a27166ea6f93afbe4d3195705c32188cd23df9da1287641d03f3afc7/F1000002.jpg" /> <img width="1228" height="1818" width_o="1228" height_o="1818" data-src="https://freight.cargo.site/t/original/i/8a4bc3c1f4c258dd44837e2fa69fa563c9760ca658c638350b0cf366ae4494b3/F1000021.jpg" data-mid="166543250" border="0" src="https://freight.cargo.site/w/1000/i/8a4bc3c1f4c258dd44837e2fa69fa563c9760ca658c638350b0cf366ae4494b3/F1000021.jpg" /> <img width="1818" height="1228" width_o="1818" height_o="1228" data-src="https://freight.cargo.site/t/original/i/bdfbf18cf8f2fee173acac56b04f0ed0a161924b9ce6b3a2bb734bbf182a1fa8/F1000017.jpg" data-mid="165994519" border="0" src="https://freight.cargo.site/w/1000/i/bdfbf18cf8f2fee173acac56b04f0ed0a161924b9ce6b3a2bb734bbf182a1fa8/F1000017.jpg" /> https://marvinhesse.com/HALLO-SPENCER Mon, 26 Aug 2024 18:08:27 +0000 marvinhesse.com https://marvinhesse.com/HALLO-SPENCER HALLO SPENCER - Der Film b-cam (dp: jutta pohlmann) kinofilm dir.&nbsp; &nbsp; &nbsp; &nbsp; timo schierhorn dp.&nbsp; &nbsp; &nbsp; &nbsp; jutta pohlmann scipt.&nbsp; &nbsp; jan böhmermann, elias hauck, tim wolff prod.&nbsp; &nbsp;unterhaltungsfernsehen ehrenfeld, studio zentral, zdf (i.A.) https://marvinhesse.com/UWE-Lying-Flat Fri, 24 Oct 2025 14:41:16 +0000 marvinhesse.com https://marvinhesse.com/UWE-Lying-Flat UWE – Lying Flat musicvideo 2025 dir.&nbsp; &nbsp; &nbsp; &nbsp; UWE &amp; Marvin Hesse dp.&nbsp; &nbsp; &nbsp; &nbsp; Marvin Hessegaffer &nbsp; Anton Schniewind &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; <img width="1184" height="1776" width_o="1184" height_o="1776" data-src="https://freight.cargo.site/t/original/i/8d66c29365fefcf3d0aea0610d5f76b2f1fda3447fb815194f439cddf869a8ee/DSCF8307.jpg" data-mid="239836805" border="0" 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data-src="https://freight.cargo.site/t/original/i/94c34423c0dee08511f05aa0cb3c13ea6fab4e430a42a348310d28c19c959571/Hochkant.JPG" data-mid="239836550" border="0" data-scale="100" src="https://freight.cargo.site/w/658/i/94c34423c0dee08511f05aa0cb3c13ea6fab4e430a42a348310d28c19c959571/Hochkant.JPG" /> https://marvinhesse.com/Der-Fleck Mon, 26 Aug 2024 19:14:28 +0000 marvinhesse.com https://marvinhesse.com/Der-Fleck Der Fleck – Skill Issues kinofilm dir.&nbsp; &nbsp; &nbsp; &nbsp; willy hans dp.&nbsp; &nbsp; &nbsp; &nbsp; paul spengemann scipt.&nbsp; &nbsp; willy hans prod.&nbsp; &nbsp;fünferfilm, 8horses Trailer via Fünferfilm or Locarno Filmfestival<img width="774" height="456" width_o="774" height_o="456" data-src="https://freight.cargo.site/t/original/i/ca7208c97864d706a4e11f931758a2f2c61cd7bb43be05d2b089f8ec6130c417/Der-Fleck-JPG.jpg" data-mid="216993074" border="0" 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