Patrons

Ballhaus

NIHRFF is ideally supported by a group of prominent patrons.


Ballhaus_Auswahl 02Makhmalbafken_loach-portraitMichael_Verhoeven
Katja Riemanblau_1_cmyk_kleinUlrich Gregor

2011

Ballhaus_Auswahl 01

Michael Ballhaus
German Director of Photography

  • The Bitter Tears of Petra von Kant (1972)
  • Martha (1974)
  • The Fabulous Baker Boys (1989)
  • Goodfellas (1990)
  • Gangs of New York (2002)
  • Departed (2006)

“The environment is more important than ever because we humans are making our planet unliveable. Even though we talk about it more than ever, the environment is actually the weakest link because we keep forgetting it as soon as there is a new catastrophe. As soon as the financial crisis reared its ugly head, all the important measures to protect the environment were put on the backburner. The curse of our time is the power of money. I am glad to be this year’s festival patron.”

2009

Makhmalbaf

Mohsen Mahkmalbaf
Iranian film director

  • Kandahar (2001)
  • Scream of the Ants (2006)

“I don’t know how anyone in this world can talk about poetry and poetic cinema when human beings in my home country, the creators of poetry, are neither allowed bread nor freedom, not even poetry.  Today the future of world peace is linked to the future of democracy in Iran just as the future of Iranian democracy is linked to art, media, and cinema all over the world. For this reason, I come to your Nuremberg International Human Rights Film Festival – so we can find a way for peace and democracy together.”

2007

ken_loach-portrait

Ken Loach
British film director

  • Land and Freedom (1995)
  • Bread and Roses (2000)
  • The Wind that Shakes the Barley (2006)

“War and state terrorism by the most powerful nations on earth are a dominant feature of our age. Consequently the rights that we thought were enshrined in international law and the Geneva Convention are ignored. It is hard to imagine that, yet again, we should have to reassert an opposition to torture, detention without trial and mass killings as a consequence of illegal wars. Your festival was never more timely.”

2005

Michael_Verhoeven

Michael Verhoeven
German film director

  • o.k. (1970)
  • The White Rose (1982)
  • The Nasty Girl (1990)

“Film is a powerful medium to fight for the most simple and yet seemingly unattainable human rights. NIHRFF has a long-term view, a vision that reaches far beyond borders but also focuses on the obvious and what is closer to home. This festival does not want to be an event for like-minded people, it has to reach out, it has to breach gaps and win over new friends, new co-fighters in the struggle for human rights.”

2003

Katja Rieman

Katja Riemann
German actress

  • The Pharmacist (1996)
  • Bandits (1996)
  • Runaway Horse (2007)

“It is necessary to observe the world around us from different perspectives, from different angles. The medium film helps us to set an idea of how people live in other countries and in what conditions. We can learn a lot from the stories that these films tell. They can remind us not to look away in our everyday lives but to look at the world with open eyes.”

2001

blau_1_cmyk_klein

Barbara Lochbihler
Secretary General of amnesty international Germany 1999-2009

“Film can be a medium which denies and covers up but it can also tell previously unknown stories about human suffering and commitment and allows us a deeper insight. This film festival is therefore an important contribution to human rights. The aim of the International Human Rights Film Award is to encourage film producers to continue with their dedicated work on human rights issues and to appeal to us not to close our eyes.”

1999

Ulrich Gregor

Ulrich Gregor
Gründer des Internationalen Forums des Jungen Films, Berlinale, 1971-2001

„Die Internationalen Filmtage der Menschenrechte in Nürnberg sind ein Hoffnungszeichen für all diejenigen, die sich vom Medium Film eine aufklärerische Funktion erwarten und das Verständnis von Film als einem Instrument der Erkenntnis nicht aufgeben wollen. Sie entsprechen einem moralischen Gebot, aber auch einem real vorhandenen Bedürfnis, das Filmmedium einzusetzen zur Information und Zeugenschaft, zur Erinnerung, zur Erweiterung des Horizonts, zur Schärfung des Blicks. Sie haben die Chance, durch ihre Programmauswahl deutlich zu machen, dass sich ein zeitkritischer Inhalt durchaus mit einer überzeugenden und modernen filmischen Form vereinbaren lässt, und dass solche Filme, die die aktuelle Thematik mit der adäquaten Form verbinden und dabei ästhetische Möglichkeiten des Mediums nutzen, die besten, wichtigsten und schönsten sind, die es in unserer filmischen Landschaft überhaupt geben kann.”