At a family gathering on a boat, 39-year-old engineer Markus remembers for the first time what his mother Renate did to him when he was a child. From then on, Markus and his wife Monika have to face an unthinkable truth, a violation, that a mother would seem incapable of.
- German Cinema New Talent Award for Director, Actor (Andreas Döhler) - Filmfest München
- Andreas Döhler
- Jessica Schwarz
- Katrin Pollitt
- Heiko Pinkowski
- Timo Schwarz
- Jan Gerold
- André Feldhaus
HANDS OF A MOTHER is a family drama with unexpected gender roles. It's partly based on a series of extensive interviews I did with several men and women who were directly affected by child abuse committed by women. According to German and also international studies, in 80-90 percent of all cases, sexual abuse is perpetrated by men and male teenagers. In about 10-20 percent of all cases, the perpetrators are women and female teenagers. Though the scriptwriting process was supervised by two renowned psychologists, it was still important to me not to make an academic film, but a family drama full of human complexity. Without sugarcoating or demonising any deed or any character.
- KINESCOPE FILM GMBH
- MEDIA LUNA NEW FILMS
A story of pain so great and so credible, it takes an especially finely honed storyline to capture all its characters’ intelligent psychology, with precise direction in every scene. A film which made us hold our breath, and nevertheless shows a way out of hopelessness.
Impresses when it simply focuses on the family dynamics and drama surrounding abuse.
Florian Eichinger started as a TV editor in the 1990s. After directing commercials and music videos, his theatrical feature films WITHOUT YOU I’M NOTHING (BERGFEST, 2008) and NORDSTRAND (2013) were invited to numerous international film festivals and won several national and international awards. Eichinger’s films question gender stereotypes and aim to explore human complexity against the background of interpersonal conflicts. His new film HANDS OF A MOTHER (DIE HÄNDE MEINER MUTTER, 2016) is the final part of his trilogy about the interlacements of domestic violence.