Thomas Schadt

In 2012 German Bundespraesident Christian Wulff declares his resignation in the great hall of Bellevue Palace. At the side of his wife, he had to face the pressure of the media for 68 days while struggling for office of head of state of the Federal Republic of Germany.

Documentary focusing on the thrash metal band Kreator but also exploring the economic and social situation of Essen at the time.

On the occasion of the last “Berlinale” under the direction of Dieter Kosslick in February 2019, the camera follows the festival director on his professional assignments and also takes part in the few moments of breathing deeply.

Accidents occur time and again on German highways. The culprits are speeders who do not adapt their driving style or speed to the traffic and harass and endanger other drivers. For months, the two authors Thomas Schadt and Reiner Holzemer observed and interviewed a large number of drivers and accompanied the highway police on their missions.

Documentary film on the first half of the 1992-93 season of Bayern Munich football club. Covers ordinary workdays of footballers from every possible angle. Impressions from training ground, dressing room, match days, meetings with press, Oktoberfest; interviews with players, managers, attendants, spectators.

The fantastic love story of beeboy and flowergirl, whom are falling in love hopelessly. A life together requires them to face the hard reality, which soon threatens to break them apart as well as their love.

Autobiographical movie about the publicist Carola Stern.

Compilation film with 20 excerpts from Thomas Schadt's own films (1982–2000). The film often deals with competition and megalomania, with the awareness of naturally possessing the power to define. But time and again, he also portrays with great empathy the lostness of those who are not among the winners.

The documentary film describes a day in the big city of Berlin and is based on Walter Ruttmann's 1927 black-and-white silent film Berlin: Die Sinfonie der Großstadt, which also depicts a day in the big city of Berlin with musical accompaniment. As with Ruttmann, Schadt's film is also based on the tension curve of a symphony, although it is much flatter here. The spirit of optimism and hectic pace of the 1920s, which dominate the rhythm of its predecessor, have largely given way to a certain melancholy. The film reinterprets Ruttman's approach and shows the ruptures and wounds that Berlin suffered both socially and in the cityscape as a result of the war and the years that followed.