How do they fake sex in movies

Two decades ago, the most famous American documentary filmmakers met at the Telluride Film Festival: Michael Moore, Ken Burns and the late D. A. Pennebaker. In their midst sat the filmmaker Werner Herzog, raved about the "ecstatic truth" and declared his colleagues to be his enemies. You would possibly want to show the truth with hers like him cinéma verite but nothing better than making "films for accountants".

Herzog never worked for accountants and auditors, but instead shot some of the most insane, and in case of doubt the best, films of all time: not just the Kaspar Hauser story Each for himself and God against all and Fitzcarraldo, in which he lets the crazy Klaus Kinski pull a ship over a mountain, but also documentaries such as La Soufriere about an impending volcanic eruption. Les Blank, in turn, filmed Herzog as the result of a bet - but that's almost what the master demonized again cinéma vérité - actually eats his shoe.

Elke Margarete Lehrenkrauss appeals to the 78-year-old Duke to make her film Lovemobil to defend, which she passed off as documentation until it was proven to her that it was not a documentation, but a staging. Lovemobil ran on NDR last December and was previously shown at many festivals around the world. The film received the German Documentary Film Prize and was already proposed for the Grimme Prize when research by the NDR editorial team STRG_F revealed it to be a fake high on the Relotius scale.

Lovemobile is the name of the caravans that are parked in forest areas on the country road. Women rent them and use them to offer their services to mobile clients. The sex is cheap and over quickly. The prostitutes who are hawking there come mostly from Eastern Europe and Africa, so it is a globalization phenomenon and above all: the worst of poverty prostitution.

Can you no longer win a prize with mere reality today?

Lehrenkrauss did not show prostitutes and suitors, but instead let friends and acquaintances play prostitutes and suitors, but explained to the NDR that she had documented the street scene that she had observed over a long period of time. The problem, however, is that Werner Herzog is a role model not only for the young filmmaker, but also for the editorial offices she works for.

"The mere reality does not win a Grimme Prize," says a colleague from Lehrenkrauss and of course does not want to be quoted by name, because the order situation is not good enough for that. The public broadcasters wanted the good and right, but with their greed for sensation they inadvertently succumb to the pull of the scripted reality, just the re-enacted reality, as the filmmaker with it Lovemobil offered so convincingly. In the editorial offices of the fee-financed broadcasters, the quota query would be performed as a daily morning prayer; The beautiful picture beats the gray research with patient questioning in the documentary as well.

Before the start, the editors were convinced of the author's credibility, explains the NDR, but cannot explain away that the broadcaster, like the festival juries, succumbed to the beautiful pictures from the greatest misery. Everyone knows that there is poverty prostitution, that women are being exploited in the middle of rich Germany, all the more beautiful when this reality is conveyed as touristically as an excursion into misery. The camera not only shows it, but keeps it at a safe distance for the audience. Elke Lehrenkrauss delivered what arrived. Most of their documentary colleagues, on the other hand, work seriously and therefore have a harder time.

The NDR uncovered the fake itself, Lovemobil taken from the media library, but sees the blame solely with Ms. Lehrenkrauss. The nomination for the Grimme Prize was withdrawn by the responsible commission on Tuesday. Elke Lehrenkrauss is not aware of any guilt and only sees the failure that she did not specifically point out the scenes that were played. She insists that when her film was approved, it should have been seen that it was a production. She did not want to hurt the audience and would like to apologize.

Incidentally, the reality that she created in her film is "a much more authentic reality". There he is again, the ecstatic Duke who doesn't want to make films for accountants. However, it was the accountants from the NDR who had to finance the majority of Lehrenkrauss' religious documentation. She does not want to see that she was supposed to have done something wrong. She is an artist, as she confidently declares on the phone, and has been sponsored by the German National Academic Foundation.