Fan Without Fear
Had Felix von Boehm grown up elsewhere, he might never have become a producer. But as luck would have it, his parents chose Paris: "When you live there and can go to the cinema after school – or while skipping it – and choose between Pasolini, Fellini, or the latest Gaspar Noé, inevitably you dream of becoming a filmmaker," he says, still full of enthusiasm today.
The fact that he spontaneously names these three directors highlights his professional preferences: "It is content and talent that inspire me most. I am interested in major international directors and artists, and that’s where I want to focus my efforts." This is evident, for instance, in the latest major production from his company, Lupa Film – Kirill Serebrennikov’s drama "Das Verschwinden des Josef Mengele" ("The Disappearance of Josef Mengele"), which premiered at Cannes in 2025 and was nominated for seven German Film Awards (with lead actor August Diehl winning in his category) – or in Élise Girard’s "Madame Sidonie in Japan" (2023).
In terms of content, he focuses on stories featuring "topics that might hurt" and "characters who are difficult", aiming to "trigger debate" around these subjects. He takes a combative stance: "When films steer clear of such topics because of fear – fear of underperforming or causing political offence – that constitutes the ultimate betrayal of cinema. After all, cinema has always been a medium for debate and discourse. That is where its future must lie." However, he knows this also presents a challenge: "It is my job to find partners within the final bastions of independent arthouse cinema who are keen on this type of sophisticated filmmaking." This is becoming increasingly difficult, particularly given the German broadcasting scene, where budgets for theatrical co-productions are being slashed. Yet, thanks to his roots in Paris – where von Boehm continues to spend part of his time – co-productions with France play a key role. And his efforts are proving successful, as evidenced by his latest projects.
Currently in post-production, there is Élise Girard’s comedy "Der Sinn des Lebens" ("Le Sens De La Vie"), in which lead actress Vicky Krieps faces the existential questions posed by her adolescent son. Next year, Dominik Graf is set to shoot a co-production with Studio Hamburg about Ernst Ludwig Kirchner (August Diehl) and his wife Erna Schilling (Sandra Hüller) – "a grand, highly complex love story between an obsessed painter and his wife, who is not only his muse and lover but also his manager." A long-term project now spanning a decade is Ina Weisse’s "Jugend" (working title), which depicts a young girl’s coming-of-age alongside two women’s ageing processes (Nina Hoss, Saskia Rosendahl). Felix von Boehm describes it as "perhaps a 'Girlhood', but definitely the chronicle of a life – a profound reflection on the transience and fragility of existence."
He explains why he succeeds in finding partners for his ambitious subject matter, despite the challenging market conditions: "We finance our projects fully and consistently deliver quality, ensuring that the films enjoy strong festival runs." One contributing factor is likely Felix von Boehm’s commitment to long-term collaboration with renowned directors. In the past he has worked with Dominik Graf on "Fabian, oder Der Gang vor die Hunde" ("Fabian: Going to the Dogs") – which won the German Film Award for Best Feature Film in 2021 – and the documentary "Jeder schreibt für sich allein" (2023). He has collaborated with Ina Weisse on "Das Vorspiel" ("The Audition") (2019) and "Zikaden" ("Cicadas") (2025), and aims to pursue more projects with Élise Girard. Currently, he is intending to participate in the new film by Karim Aïnouz, having previously produced Aïnouz’s documentary "Zentralflughafen THF" (2018). He describes the basis to these creative partnerships with characteristic modesty: "I am a fan of all the directors that I am privileged to work with. Being a fan is a crucial driving force that enables me to commit to a person – and to all the challenges involved in making a film."
Boehm is also a fan of the visual artists whose work he chronicles as a documentary filmmaker – most recently in "Venedig und die Kunst der Macht – Die Geschichte der Biennale". However, one dream collaborator whose cinema Boehm views as "extremely important" appears to have retired: "Michael Haneke says he has told it all now. But secretly, I hope there could be another film, after all."
Author: Rüdiger Sturm