German cinema is set to be the focus of the traditional Wild Roses programme - unspooling within the Trieste Film Festival (whose 35th edition will run 19 - 27 January) - which homes in on women filmmakers from a different country in Central and Eastern Europe each year. As such, after Poland, Georgia and Ukraine’s turn, it’s now a selection – curated by the Berlinale’s executive director Mariëtte Rissenbeek – of contemporary Germany’s most interesting filmmaking approaches which is set for the showcase. The Wild Roses focus is organised with the support of German Films, Goethe-Institut Rom and DeutschZentrum Triest.

Thirteen titles by as many authors are on the agenda; films which have often won awards all over the world, but less internationally known films too, unveiling new names for Italian audiences to discover, which – according to Nicoletta Romeo, the artistic director of the Trieste Film Festival – “will reveal a modern, inclusive and multicultural country, which is a far cry from stereotypes”.

Heading up the German delegation is Margarethe von Trotta, who’ll be attending Trieste to present her new film Ingeborg Bachmann – Journey Into the Desert [+lee también:
crítica
tráiler
entrevista: Margarethe von Trotta
ficha de la película] (soon to hit Italian cinemas, courtesy of Movies Inspired). A representative of Neuer Deutscher Film and a winner of the Golden Lion in Venice 1981 via The German Sisters, she’s just one, alongside Ulrike Ottinger (who’ll be screening Paris Calligrammes [+lee también:
crítica
tráiler
entrevista: Ulrike Ottinger
ficha de la película]), of a generation of women masters who are still hard at work today.

Other names on the guest list are Maren Ade, revealed in Cannes 2016 and who introduced the extraordinary actress Sandra Hüller to the world via Toni Erdmann [+lee también:
crítica
tráiler
Q&A: Maren Ade
ficha de la película]; Valeska Grisebach and Angela Schanelec, armed with their most recent works (respectively Western [+lee también:
crítica
tráiler
entrevista: Jonas Dornbach
entrevista: Valeska Grisebach
entrevista: Valeska Grisebach
ficha de la película], seen on the Croisette in 2017, and Music [+lee también:
crítica
tráiler
ficha de la película], which scooped Best Screenplay at the latest Berlinale); Maria Speth, who won the Silver Bear for Mr. Bachmann and His Class [+lee también:
crítica
tráiler
ficha de la película]; Maria Schrader, who bagged the Audience Award at the European Film Awards by way of Stefan Zweig: Farewell to Europe [+lee también:
tráiler
entrevista: Maria Schrader
ficha de la película]; and Emily Atef with her portrait of Romy Schneider as we’ve never seen her before in 3 Days in Quiberon [+lee también:
crítica
tráiler
entrevista: Emily Atef
ficha de la película].

We’ll also be treated to the cosmopolitan talent of Ana-Felicia Scutelnicu (Anishoara [+lee también:
crítica
tráiler
ficha de la película]) and Ayse Polat (In the Blind Spot [+lee también:
crítica
tráiler
entrevista: Ayşe Polat
ficha de la película]), and the audacious Nicolette Krebitz (Wild [+lee también:
tráiler
ficha de la película]), Nora Fingscheidt (System Crasher [+lee también:
crítica
tráiler
entrevista: Nora Fingscheidt
ficha de la película]) and Frauke Finsterwalder (Sisi & I [+lee también:
crítica
tráiler
entrevista: Frauke Finsterwalder
ficha de la película]).

As Mariëtte Rissenbeek explains: “Wild Roses is a real inspiration when it comes to anti-conformist and courageous filmmakers, and films which stimulate and entertain me, but which I also find difficult and uncomfortable. There are no roses without thorns”.

In collaboration with