Gipsy Queen (2019)

Movie
Original title	Gipsy Queen
Country of production	Germany , Austria
original language	German , Romanian
Publishing year	2019
length	117 minutes
Age rating	FSK 12 ; JMK 14
Rod
Director	Hüseyin tobacco
script	Hüseyin tobacco
production	Kurt Stocker , ; Danny Krausz
music	Judit Varga
camera	Lukas Gnaiger
cut	Christoph Loidl
occupation
	Alina Șerban : Ali; Tobias Moretti : Fir; Irina Kurbanova : Mary; Maureen Havlena : Mrs. Müller; Aleksandar Jovanovic : Udo; Özgür Karadeniz : Branko; Oana Solomon : Paula; Catrin Striebeck : Gloria; Margret Völker : Judge; Andreas Anke : Department store detective;

Gipsy Queen is a German-Austrian feature film by Hüseyin Tabak from 2019 with Alina Șerban, Tobias Moretti and Irina Kurbanova . The premiere was on September 28, 2019 at the Hamburg Film Festival in the Große Freiheit section . The Austrian theatrical release took place on December 6, 2019. The German theatrical release was originally planned for May 21, 2020 and was postponed to June 25, 2020 due to the COVID-19 pandemic .

action

Ali is a single mother who lives in Hamburg with her two children . After she lost her job as a maid, she found a job in the Zur Ritze pub in St. Pauli . There is boxing in the basement during the day. Ali's father was a boxer himself and trained her as a child.

Ali only came to Hamburg shortly before, after she became pregnant unmarried and she was expelled from her village in Romania by her father . Ali is still angry about it when she ventilates her anger on a punching bag, Tanne, the owner of the crack, recognizes her talent and takes her under his wing. One day their two children run away. After Ali threatens to lose everything, she gets back in the ring to save her children.

production

One of the locations: The Hamburg pub Zur Ritze

The shooting took place from October 10th to December 2nd, 2017 , and the shooting took place in Vienna , Hamburg and Slovakia .

The film was supported by the Austrian Film Institute , the Vienna Film Fund , the Film Funding Agency , the German Film Funding Fund , the Hamburg Schleswig-Holstein Film Funding and Eurimages / MEDIA ; Austrian and North German Broadcasting and Arte were involved .

The film was produced by the German Dor Film West GmbH in Munich , co-producer was the Austrian parent company DOR Film Produktionsgesellschaft mbH of producers Kurt Stocker and Danny Krausz .

Maj-Linn Preiß was responsible for the sound, Katrin Aschendorf for the costume design, Julia Oberndorfinger and Attila Plangger for the production design and Kathi Kullack and Nica Faas for the mask.

reception

Marian Wilhelm found in the Tyrolean daily newspaper that Hüseyin Tobacco was walking in the footsteps of Clint Eastwood's million dollar baby with “Gipsy Queen” . However, his drama would also very clearly be a social struggle. The actual duels and the training are allegories of an internal conflict, which Tabak and leading actress Alina Șerban put into the picture. Șerban convey a stoic force with economical dialogues. The camera and editing would not have to take cover from a Hollywood film, especially in the boxing matches. Wilhelm judged: "Even if a slightly more subtle message would have done the film good, the Gipsy Queen gives Austrian cinema a good fight."

In the Saarbrücker Zeitung, Martin Schwickert described the film as a powerful, sensitive and coherent portrait of a woman without pathos. He uses the metaphor of the classic boxer film, in which the fight in the ring is always a process of self-discovery. In the same way, tobacco managed to defy the conventions of the boxer film in the home straight, which likes to lead its heroes to triumph over defeat in a hard final fight. Instead, Gipy Queen waits in the middle of the ring with an open, poetic final turn that lets the film and its heroine flutter away like a butterfly.

Ralf Krämer wrote in the Berliner Morgenpost that director Hüseyin Tabak, Serban and Moretti , are presenting two sparring partners in front of the camera who know how to combine charm and snottiness. When the great fight slowly comes to a climax in a single seven-minute, uncut take, start the music not with timpani and trumpets, but with the delicate tones of an accordion. A little Hans Albers melancholy is spreading. And an inkling of dignity and freedom that is far too seldom felt in the cinema.