Text "The Story of Wolf" by Anouk De Clercq in: Where is Cinema? published by Archive Books

The book is compiled of portraits of film initiatives from around the world, interwoven with conversations with adventurers who have rebooted movie theatres or built them up from the ground, in the hope that it can be an inspiring compendium for future cinema builders, filmmakers, film curators and film lovers.

Anouk De Clercq in conversation with Verena von Stackelberg, Ana López Ortego and Daniel Bejarano, Ilona Jurkonytė and Ugnė Marija Andrijauskaitė, Adam Pugh, Thomas Liu and Silja Espolin Johnson, Erika Balsom, Beatrice Gibson, María Palacios Cruz and Ben Rivers, Heather Lane and Mia Ferm.

About Wolf

Wolf is an independent art house cinema in Berlin-Neukölln with two halls, a flexible studio and a café-bar. The programme focuses on contemporary artistic filmmaking. All films are shown in their original version. The connection to our immediate neighborhood is just as important to us as the connection to the scene of local and international film and cultural creators. To this end, we offer numerous film festivals, artists and initiatives a stage and a place for encounters and exchange. We also implement our concern for a lively mediation of international film culture and an examination of and about film within the framework of various film education projects with children and young people. In addition, we distribute selected films through our own distribution company Steppenwolf. Under the same roof we also host the postproduction office Planemo, co-founded with Marcin Malaszczak.

The Story of Wolf

by Anouk De Clercq

Wolf found its home on the ground floor of an apartment building at the crossroads of Wildenbruchstraße and Weserstraße, two intersecting streets in Berlin’s Neukölln. It houses two screening rooms that were created in close collaboration with filmmakers, a studio where the boundaries of the traditional cinema screen are challenged, and a bar. Recently, post-production facilities have been added to the agenda. Wolf also offers workshops and discussions, creating a space where those curious about film and those who are experts meet and exchange.

A lot has happened since 20 December 2011, the day when Verena von Stackelberg first stepped into the building. Over the years leading up to the opening on 1 March 2017, she and her team of collaborators and volunteers have taken what was once a disused and crumbling space and turned it into one of the city’s most dynamic movie theatres.

The space has a long and interesting history prior to Wolf moving in. There was a bookbinder, a launderette, a bakery named Wolf Gramm (a happy coincidence that was found out long after Wolf was called Wolf), a tobacco store, and a brothel. Reminders of the building’s previous occupants were everywhere before work began in August 2015. From the garishly painted pink walls to the footprints of one of the previous inhabitants set within the concrete floors.

Verena von Stackelberg: “A crumbling space may have a certain charm, but it unfortunately isn’t conducive to an ideal context for a fully operational cinema. I am sure you can imagine the tasks that followed. Electrical work, breaking down walls, putting up new ones, new floors, painting, cleaning… The fact that we are located in a residential area meant that noise was a huge factor, and this led to the necessity of soundproofing our screening and cafe area. All of the work was completed by a team of invaluable professionals and by a host of enthusiastic volunteers.”

The only way to give an impression of the huge change the building has undergone is through images. It shows that there’s a heart at the centre of this place. Wolf conveniently opened together with the Berlinale, hosting a discussion about the future of cinemas and attracting a lot of different people from all over the world in its first week.

VS: “I fell in love with film and filmmaking as a teenager and studied photography and film in London. It was while working as an usherette at the Curzon in Soho that I really fell in love with everything that is cinema. Around the same time, I read Jonas Mekas’s Movie Journal, and then I realized that cinema has a power that I didn’t know it had. It gave me another view on filmmaking and on the experience of watching films. I realized what a difference a programmer can make. I realized the importance of a good cinema and the impact it can make on an entire city. Running a cinema can be creative, just like making films. And Jonas Mekas speaks so passionately about imperfection. It gave me courage.”

It takes courage to transform a rundown place into a dynamic cinema, but some would say it also takes courage to keep seeing cinema as a communal experience. Since Jonas Mekas wrote his journal (1959-1971), our whole movie going culture has changed. Moving images are everywhere. Multiplexes have grown. People watch films at home on a variety of screens, and artists show their films in museums.

VS: “People will always love sitting in a darkened room and share watching a film together. But I think the way we run a cinema has to change. To attract people who are willing to experience a film that is not necessarily marketed on every street corner, you have to create a social space where they can feel at home, and yet offer an experience that you can never have at home alone. I’m not against watching films online; watching a film in a cinema is simply a different experience. You are focused and submitted, in the sense that you cannot stop the movie to check emails. The sound, images and the presence of others in the auditorium completely change the way you see a film. On the other hand, we were always very conscious that, if we build a cinema in this day and age, we would have to think about what cinema might become.”

Living our lives mostly virtually makes some of us hungry, again, for all things tactile, resulting in a revived enthusiasm for vinyl, for instance, and a renewed interest in analogue filmmaking. We relate to it because it seems to have always been there and because it is tangible. This does not mean that, as a cinema, one has to simply revert back to a nostalgic view of experiencing film. On the contrary, it is also very important for a cinema in the 21st century to challenge the boundaries of a conventional cinema screening.

VS: “The moving image and the bigger idea of cinema is always changing and expanding. Wolf is not just there for the work of traditional filmmakers, but it’s also very much interested in artists working in film. Therefore,  it  was  important to us  that, next to the two screening rooms, we have a space that can adapt to the future of the moving image or to the different desires that an artist or a filmmaker may have concerning the presentation of their work. We created a flexible space we call the Studio, which can be adapted to different needs. We have a  black curtain that we can close 360° to create a  black box, opening it reveals white walls and a large window with daylight coming in. The screen is painted on the wall with screen paint, a very simple set-up. We had a VR3  project here, panel-discussions, workshops about the creative process of colour grading, a film-lecture about the use of colour in film as used by Hitchcock... Every Monday, a group of students between the age of 13 and 15 years old come in and learn about how to program a cinema, how to make a Super8-film, how to do improvisational acting. This extra space is what we need in order to make Wolf the cinema community that we want it to be.”

Another reason to have an additional space, and also the reason why Wolf chose to build two screening rooms rather than one big one, is financial. A new cinema project is built on a foundation of ideology and economics: in order to survive, everything you do should serve both. The goal is to think of a way to make your cinema financially viable, while having fun and sticking to your ideals. In the case of Wolf, the revenue is based on the income from the bar, the ticket sales, the rental of the screening rooms, the Studio and the post-production facilities, and through funding.

VS: “I never wanted Wolf to be a purely funded mausoleum-style cinema. I dislike it when people say that, in the future, cinemas will completely depend on grants from the government because they couldn’t exist otherwise. It is a very sad outlook because it sends out the message that a cinema cannot sustain itself and that if you decide to make a career as a filmmaker, for instance, you have to beg, borrow or steal and will always be dependent on the goodwill of others. However, in London, while working at the Curzon, I saw that you can shoot yourself in the foot when the economic side of things is in competition with the programming side of things. Earning money through  renting  out  your  screening  rooms or by making financially interesting deals with distributors means that you don’t have enough time to give films you truly believe in a proper chance. I left London because it became impossibly expensive, and that completely changed our programming. In the end, because of the financial pressure, it wasn’t so much about films anymore but about profit. So even though I want Wolf to be independent, I notice now that without certain funding we wouldn’t have the freedom to program in the way that we do. Without it, we would be a smaller team with a less exiting program. To make cinema last into the future, we need to reach young people. But if we start creating economic models that put a lot of pressure on our shoulders, then young people can’t afford the tickets anymore. With Wolf, we wanted to create a space that is able to pay the bills while at the same time inviting people to come and watch films for a reasonable price.”

Traditionally, an arthouse cinema needs three or four strong titles a year to secure its survival. Because Wolf has other resources too, they can experiment or make different choices as they don’t solely depend on a high-grossing film. For instance, when Wolf couldn’t get Moonlight, they chose to show I Am Not Your Negro. Apart from the fact that the two films released at the same time in the same city made each film even more interesting, I Am Not Your Negro is also one of the films that did best at the Wolf box-office. It was the only cinema in the whole of Germany that gave the film proper 8pm slots.

VS: “I Am Not Your Negro had an Arte screening two weeks after its release, and some cinemas didn’t show the film because they were against this short window. But I’m not scared of VOD. I don’t mind if a film is shown online while having it at the cinema, because they are two different things. But if a film is released on Blu-ray, it means it’s available illegally online, and then I feel sorry for the film. Ideally, films should be then streamed online on a cinema’s website – even when it’s programmed in that same cinema – so that some profit goes to the release of the film at least, benefiting the filmmaker and the cinema, rather than seeing it in some illegal form.”

If we consider cinema to be a social experience, then that comes with the consideration of how you decide to watch a film. Audiovisual education can help an audience think differently about how the film came to their screen. People in general, but also even filmmakers, know very little about the work that goes into creating a cinema, making a program, marketing a film and distributing it. From the beginning, Wolf’s founders wanted to create a space with a greater understanding for each other’s work; and from the beginning, they have involved their audience in the process of creating a cinema.

 Berlin’s neighbourhoods are very central to people’s lives. It is very possible to live an insular life close to your home. Every Kiez has everything you need; and in this sense, you can easily cultivate the idea of a Kiez-Kino. In the years leading up to the opening of Wolf, a crowdfunding campaign was launched. The idea was not only to raise money for the renovation, but also to build a strong community of people around the project. Regular roundtable meetings were set up with neighbours, filmmakers and artists about Wolf and what it could be.

VS: “At the beginning, we financed the start of the project through private loans because no bank would take us seriously. When we launched the crowdfunding campaign, people got several options as a return: they could prepurchase cinema-tickets, buy jumpers and bags with our logo on them, have the use of the cinema for two  hours, or they could become a patron of a cinema-seat. I think it is a beautiful idea to know that you have a cinema-seat somewhere with your name on it. It is a very romantic notion, like buying a star or something.”

Through the campaign, € 55,000 was raised. Although this may seem like a large sum, 19% is taxed and there were pre-expenses made: a promotional video, a lot of events were organized, and there was, of course, a lot of manpower involved. But maybe more importantly than the money that was raised, 1,000 people actively supported Wolf.

VS: “We have always wanted Wolf to be more than a cinema. We want it to be like a circle, supporting filmmakers from an early stage on, showing work-in-progress, educating an audience and making them more sensitive  to  the  big  process that is filmmaking. In return, people might become more open-minded about the films they watch. Audiovisual education is very important for the future of cinema, so we need to teach kids too about how beautiful filmmaking or cinemamaking can be. It is about trying to embrace the multitude of aspects of cinema culture; our job encompasses more than just running a cinema.”

Wolf sees the bigger picture and gently shows its audience the way to strange, quirky and unknown films. To make cinema last, every cinema needs a heart at the centre of its place.

Text "The Story of Wolf" by Anouk De Clercq in: Where is Cinema? published by Archive Books

The book is compiled of portraits of film initiatives from around the world, interwoven with conversations with adventurers who have rebooted movie theatres or built them up from the ground, in the hope that it can be an inspiring compendium for future cinema builders, filmmakers, film curators and film lovers.

Anouk De Clercq in conversation with Verena von Stackelberg, Ana López Ortego and Daniel Bejarano, Ilona Jurkonytė and Ugnė Marija Andrijauskaitė, Adam Pugh, Thomas Liu and Silja Espolin Johnson, Erika Balsom, Beatrice Gibson, María Palacios Cruz and Ben Rivers, Heather Lane and Mia Ferm.

Wolf Rudel

Wolf Supporters

Alex Thiele, Hajo Schäfer, Katja Adomeit, Dagmar Jacobsen, Bernhard Karl, Arvid Wölfel, Conny Lohmann, Catherine Ricoul, Jack Howard, Jonathan Howell, Britt Dunse, tony jones, Steffen Gerlach, Stephan Wagner, F. J. Passamonte, Franzis Walther, Alexander Wadouh, Noel Qualter, Milena Fess- mann, Leila Zanzibar, Katharina Bellena, Ludmila Cvikova, Frédéric Jaeger, Beth Sanders, Chrischa Oswald, Jakob Huefner, Sebastian Böhm, Fabian Gasmia, Henning Kamm, Thomas Lovegrove, Ursula Reber, Dominic Fitzgerald, Monika Kijas, Nawid Sarem, f.u.c. Film, Dickon Bevan, Sandro Fiorin, Michael Maggiore, Stefan Oliveira-Pita, Christoph Gröner, Magda Wystub, Irene von Alberti, J.-C. Simon, Matthias Luthardt, Anke Hentschel, Paul Andexel, Madeleine Girke, Stefan Adrian, R. Golembiewski, K. Stavrianou, yannis trouinard, Ruth Maiazza, Hoggard Wagner, Maria Drandaki, Yorgos Tsourgiannis, Laura Heberton, Kris SP, Alexander Stein, Johanna Domke, Jon Sanders, Ann C. Renninger, Ashley Horner, Toby Cornish, Anke Petersen, Kate Chamuris, Katya Sander, Sean Jourdan, Carla B. Guttmann, Adrien Aumont, Jan Grygoriew, Christine Kolbe, Birgit Kniep-Gentis, D.-M. De la Vega, Iana Stefanova, Jakob Lass, Martin Heisler, Felix von Boehm, Jason Kohl, rebekkan garrido, Marita Neher, Marga Boehle, Marcin Malaszczak, Maria Rogel, Hannes Rössler, Sebastian Gutierrez, M. Blankemeyer, Mathilde Benignus, Imogen Heath, Catalina Rojas, Jamila Wenske, Hermann Horn, Claudia Steffen, Paola Barreto, Sn Cleemann, Maike Höhne, Frank Klaffs, Claudio Pfeifer, M.&V. Baumgartner, Jochen Jezussek, Sophie Funke, Jan Krüger, Judith Holzer, Connie Walther, René Fietzek, Benny Drechsel, Eva Stotz, Stephanie Riess, Martin Danisch, F. Koerner v. Gustorf, Uli M. Schueppel, Fabian Altenried, Sophie Kluge, Franz Rodenkirchen, Jochen Laube, Lieke Anne, Felix Stienz, Federico Spoletti, Alan Bishop, Sabine Steyer, Suse Marquardt, Michael Hehl, Adrian Baumeister, Fully Flared-Films, Philip Schramke, Bernd Fraunholz, Nakako Takei, Titus Kreyenberg, Aurelie Moigno, Julia Harries, Lopes Priscila, Edvinas Pukšta, Rita K. Konrad, Z. Kerschberg, WOLF Consultants, Wolfgang Wimmer, Joachim Kurz, Vanessa Temps, Khalid Abdalla, Michael Brent Adam, Mark Adams, Nils Aguilar, Abdul ilah Albayaty, Hana Albayaty, Leila Albayaty, Bastian Albers, Vik Aleksandrovich, Lobna Allamii, Eva Therese, Alshut, Michael Amberg, Ulf Aminde, Jona Armborst, Nike Arnold, Michael Arnon, Thomas Arslan, Sam Ashby, Toby Ashraf, Emily Atef, Ute Aurand, Sophie Auriault, Melanie Autenrieth, Solmaz Azizi, Gaby Babic, Anabel Bach, Katinka Bach, Michel Balagué, Boris Balin, Magda- lena Banasik, Axel Bangert, Tom Bartels, Jule Bartram, Elisabeth Baulitz, Clara Bausch, Peter Bausch, Guillaume Bazan, Julia Becker, Maximilian Becker, Sven Becker, Dennis Beckmann, Christine Beilharz, Jotinka Bell, Johanna Bentz, Edward Berger, Max Berger, Johannes Bergill, Laura Bierling, Lars Bilharz, Niklas Binder, Vincent Biot, Pivi Black, Larissa Blau, Martina Bleis, Frances Bodomo, Manfred Bogner, Konstantin Bojanov, Aline Bonvin, Aisha Borkowsky, Luca Jacob Borkowsky, Alessandro Bortolazzo, Georg Bosch, Lorna Bösel, Barbara Bossuet, Silke Botsch, Julien Bouille, Nick Bradshaw, Anke Brandt, Verena Brandt, Ulrich Braun, Eva Breitbach, Lars Breuer, Sophie Brown, Hannes Brühwiler, Andrew Bujalski, Georg Bütler, Daniel Calladine, Barney Calman, Michelle Carey, Ilaria Celestini, Bryn Chainey, Samia Chancrin, Laura Christine, Elly Clarke, Johannes Conrad, Katha- rina Copony, AC Coppens, Laura Coppens, Marta Cortés, Mario Santos, Emiliano Santos, Matias Santos, Melanie Crawley, Davide Crivelli, Joseph Curran, Michael Dahm, Robert Damrau, Jörg Daniel, halina daugird, Ana David, Cathy de Haan, Eude de Montgolfier, Helen de Witt, Josephine Decker, Noaz Deshe, Michel Diercks, Armin Dierolf, Laurin Dietrich, Stefanie Dilger, Viktor Dill, Paul-Jasper Dittrich, Benny Drechsel, Lea Dror-Batalion, Willem Droste, Anne Düe, Michaela Düll, Melissa Dullius, Marylise Dumont, Gareth Eagles, Ann Edwards, Dagmar Ege, Susa Ehlers, Peter Eiff, Tamer El Said, Frieda Erhart, Ralph Eue, Gareth Evans, Gritta Ewald, Lukas Feigelfeld, Anja Feilke, Lori Felker, Ailsa Ferrier, Alex Finkle, Pierre-Emmanuel Finzi, Marcus Fjellström, Fiona Fletcher, Philip Foxwood, Otto Franke, Harald Friedrichs, Janosch Friedrichs, Anita Fritz, Christian Frosch, Charlene Fuchs, Kat Fürnkranz, Loreta Gandolfi, Murielle Gandre, Bärbel García Salpeter, Isa Ge, Lorenzo Gentili, Antje Gerber, Charles Gertmenian, Christian Glaeser, Mun Go, Veronika Go, Emma Gräf, Barbara Granato, Carmen Gray, Ingo Grell, Danny Gronmaier, Simon Groß, Bastian Günther, Katharina Günther, Peter Gunzenhauser, Lisa Gutermuth, Philipp Haber- landt, Dominique Haensell, Esther Hafner, Martin Hagemann, Thomas Hailer, Basim Hajar, Schäfer Hajo, Mahelia Hannemann, Christian Hansson, Helena Hansson, Saga Hansson, Oli Harbottle, Aaron Harding, Anna Sofie Hartmann, Jana Hartmann, Nicole Hartmann, Frances Harvey, Tina Haseney, Frank Hauschildt, Isabelle Heereman, Lorenz Hegel, Patrick Heidmann, Hans Christian Heinemeyer, Thilo Heinzmann, Frank Heise, Igor Heitzmann, Sophie Heldman, Juliette Hell, Thomas Helm, Anna Henckel-Donnersmarck, Vera Herchenbach, Janina Herhoffer, jasmin herkel, Verena Herz, Katha- rina Hiersemenzel, Simon Hillmann, Maren Hobein, Anna Hoffmann, Lena Hoffmann, Simon Hofmann, Majella Horan, Friederike Horstmann, Rene Horvath, Daniel Hübschmann, David Hudson, Kelly Hughes, Anita Iniessoh, Elhum Irani, Laura Izuzquiza, Simon Jablonski, Gesa Jäger, Maria Jahn, Veronika Janatkova, Sigrid DPA Jensen, Jimmeh Jimmeh, Fabian Joas, Gierlinger Johannes, Louise Johansen, Lisa John, Laura Jung, Sandra Jung, Lena Kammermeier, Steve Kantor, Anna Katchko, Hanna Keller, Sarah Kempin, Nzingha Kendall, Anthea Kennedy, Marietta Kesting, Christof Kiefer, Annette Kilzer, Zsuzsanna Kiràly, Caroline Kirberg, Rainer Kirberg, Tom Kirk, Tatjana Klapp, Carmen Klaucke, Sophie Klebba, Dagny Kleber, Till Kleinert, Anna Kliemann, Marie Kloos, Jan Klöthe, Lea Kneist, Eva und Jürgen Knodel, Matthijs Wouter Knol, Familie Knoop, Ekkehard Knörer, Harriet Knowles, Kristine Knudsen, Tess Knuth, Axel Koenzen, Lill-Ann Koerber, Kathrin Kohlstedde, Steffen Köhn, Andreas Köhnemann, Bessel Kok, Ivana Kollarova, Thomas König, Bastiaan Korner, Simon Köslich, Kuba Kosma, Beate Kosubek, Michael Kotschi, Michael Kotschi, Joji Koyama, Nora Krahl, Nina Kraus, Britta Krause, Katrin Kreinsen, Viviane Kriebisch, David Krippendorff, Almuth Kuchenbäcker, Katja Kuhlmann, Gesine Kusine, Lysette Laffin, Ramon Lamarca, Bernd Lange, Fabian Langer, Anna Laura, Lise Lautenbacher, Katja Lautenschläger, Bill Lawrence, Kristin Lawrenz, Paz Lazaro, Toby Lee, Amelie Legrand, Silke Lehmann, Sebastián Lelio, Joanna Lemonnier, Kai Lentrodt, Cyril Lepagnot, Anke Leweke, Christiane Lilge, Ivette Löcker, Julia London, Lena Loose, Sharmaine Lovegrove, Emily Lundin, Silvia Lupia, Elena Lustig, Franz Lustig, Sebastian Luther, Mirko Lux, Alexander Maasry, Laura Maasry, James Mackay, Marcin Malaszczak, George Manatos, Pia Marais, Gandre Marithe, Martin Martin, Thomas Martin, Anna Martini, Niklas Marzinek, Carlo Märzke, Gesa Massur, Benoit Maubrey, Maximilian Mayrshofer, Kate McNaughton, Isabelle McNeill, Stefan Mehren, Caroline Meinke, Henrike Meyer, Kira Meyer, Stütz Michael, Toby Miller, Anne Misselwitz, Petar Mitric, Christian Modersbach, Nora Molitor, Birgit Möller, Marlène Monteiro, Judith Morisseau, Hannah Mowat, Kumar Muniandy, Jasel Nandha, Valeska Neu, Stefan Neuberger, Gerrit Neuhaus, Nana Neul, Alexan- der Nowak, Andreas Oberschelp, Freddy Olsson, Chris Oosterom, Agnes Orosz, Kyle Ott, Logan Ouellette, Lia Pack, Jana Pape, Milena Pastreich, Hannah Patterson, Andreas Pauli, Lydia Penke, Jan Peters, Stefan Pethke, Karin Petrovszky, Emma Pettit, Eliaz Peuvedic, C. Pfenninger, Anna Pfitzenmai- er, Raymond Phathanavirangoon, Ruth Pickard, Steph Pierzchala, Caroline Pitzen, Sascha Pohflepp, Jutta Pohlmann, Fritz Polzer, Martina Priessner, Yvonne R., Julian Rabus, Folke Racho, Karolina Raczynski, Julian Radlmaier, Samira Radsi, Lola Randl, Jack Rath, Berthold Rebhandl, Maryanne Redpath, Phlip Rei, Lena Reinhold, Irene Revell, Stephan Richter, Nadja Riegler, Christina Riesenweber, Tose Riesser, Juliette Rigalleau, Jessica Rinland, Selina Robertson, Nick Roddick, Nigel Rogers, Jonas Römmig, Lucy Rosenstiel, Katharina Rost, Charles Rubinstein, Lars Rudolph, Sagago Rumpa, Werner Ruzicka, Mia S., Jonas Saabel, Alexander Sailer, Agnès Salson, Maia Santos, Carlo Sapp, Nawid Sarem, Julie Savary, Sarah Schill, Pascale Schiller, Sebastian Schiller, Angelika Schindler, Nadine Schindler, Wogu S., Mareike Schmale, Julia Schmid-Neuhaus, Laura Schmidt, Ursula Schmidt, Anna Schneider, Christiane Schneider, Morten Schneider, Silvie Schneider, Kathrin Schoemer, Frank Scholz, Hannah Schopf, Catharina Schreckenberg, Carmen Schreier, Lisa Schwabe, Emma Scott, James Scullin, Jana Seehusen, Sebastian Selig, Vroni Senil, Camille Serre, Russell Sheaffer, Mark Shlom- chik, Susann Siebert, Linda Söffker, Steffi Spachmann, Damian Spandley, Wieland Speck, Jan Speckenbach, Michael Spiegel, Gordon Spragg, Ole Sroka, Stefan Stabenow, Petra Stangenberg, Nicole Stecker, Tina Steffan, William Stewart, Sarah Strandt, Stephanie Stremler, Tom Streuber, Marion Strohschein, Wolfgang Stuppert, Angelika Stute, kristin Suckow, Johannes Suhm, Nat Tafelmacher-Magnat, Chloé Tailhandier, Hess Taylor, Lorna Tee, Maja Tennstedt, Christoph Terhechte, Johanna Terhechte, Andre Terwei, Jonas Thaysen, Agathe Theodore, Marc Thiebaut, Hugh Thorn, Alissa Timoshkina, Laure Tinette, Nadja Tobias, Cecile Tollu-Polonowski, Laura Tonke, Jack Toye, Monika Treut, Tina Tripp, Feli Tsibanouli, Abdul Twebti, Syllas Tzoumerkas, Fokko Ukena, Sonja Umstätter, Annabelle Vassallo, Livia Verstegen, Moise Victor, Lilo Viehweg, Flore Vigneron, Anette Violet, Luise Voerkel, Jörg Volkmar, Petra Volpe, Max von Aderkas, Britta von Gehlen, Augustinus von loe, Jan-Erik Jakki Von Lühmann, Francoise von Roy, Carl von Siemens, Gotthardt von Stackelberg, Lilly von Stackelberg, Magnus von Stackelberg, Sabine von Stackelberg, Titti von Stackelberg, Tonia von Stackelberg, Illo von Stackelberg, Mathilde Vrech, Jons Vukorep, Torsten Wacker, Bernhard & Margaret Wagner, Brigitta Wagner, Christian Wagner, Stephan Wagner, Isabel Waidner, Maria Walser, Sylvia Wandtke, Jeremy Wang-Iverson, Natalie Warlow, Marco Wedel, Marlies Weerts, laurence Wegener, Florian Weghorn, Tobias Weise, Lars Weitemeier, Gudrun Westphal, Allison Whitney, Ian Wiblin, Philip Widmann, Marvin Wiechert, Frauke Wiegand, Susanne Wienemann, Henning Wiethaus, Elvia Wilk, Claudio Winter, Richard Winter, Hannah Wolf, Gerrit Woltemath, Jason Wood, Kristofer Woods, Mark Woods, Katharina Wörner, Ugur Yildirim, Jo Zahn, Julieta Zarankin, Ulrich Ziemons, Ulrike Zinke, Pola Zobel, Laura Zrenner, Lina Zuppke, Iavor Zvetanov.

We are part of INDIEKINO CLUB, an association of ten Berlin art house cinemas. On the joint site INDIEKINOCLUB club members can stream selected arthouse and indie films online at their convenience. In addition, they receive discounted admission to all participating cinemas with their ClubCard. Club membership costs €60 per year and can be purchased online or at the cinema box offices.