SYNOPSIS
SYNOPSIS
Micha Hartung (Charly Hübner), a video rental shop owner in Berlin, is facing imminent bankruptcy when he unwittingly becomes a hero overnight. On the occasion of the 30th anniversary of the fall of the Wall, ambitious news journalist Alexander Landmann (Leon Ulrich) paints Micha as the mastermind behind the biggest mass escape in the history of the German Democratic Republic. Forced to become an imposter against his will, Micha is caught in the glare of fame – which also has its perks, as he meets his dream woman, Paula (Christiane Paul). He never would have believed an ordinary guy like him could attract someone so successful, educated and witty. But, like the rest of his life, this budding love story threatens to descend into a chaos of miscommunication and lies.
DIRECTOR’S
BIOGRAPHY
Wolfgang Becker was born in Hemer, Westphalia in 1954. He read German studies, history and American studies at Freie Universität Berlin from 1974 to 1979, and from 1981 he studied at the Deutsche Film- und Fernsehakademie Berlin (dffb). His graduate film Schmetterlinge in 1987 was also his first theatrical release. An adaptation of Ian McEwan’s short story “Butterflies”, it won the Student Academy Award in Hollywood and the Golden Leopard at the Locarno Film Festival. In 1991, he directed a critically acclaimed episode of the long-running German crime drama Tatort, which had a running time of 117 minutes, making it one of the longest episodes of all time; it was also one of the most-viewed shows in the series’ history, drawing 14.4 million viewers upon first broadcast. A year later, Child’s Play was released, a tragicomedy about childhood in a 1960s working-class neighbourhood that was awarded a Preis der deutschen Filmkritik.
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In 1994, Becker was one of the co-founders of X Filme Creative Pool. His first movie for X Filme was Life is All You Get, a melancholy episodic movie about an anti-hero, portrayed by Jürgen Vogel, who drifts through post-Reunification Berlin, losing his job in a meat factory and ultimately falling in love with a street musician, played by Christiane Paul. The movie premiered in competition at the 1997 Berlinale film festival and won three German Film Awards.
Good Bye, Lenin! was also shown in competition at the Berlinale, and was the most successful German film of 2003, with six million viewers. It also enjoyed great popularity abroad, with London-based newspaper The Times calling it “the funniest film from Germany for a century”. Good Bye Lenin! was distributed in 60 countries and received countless prizes, including nine German Film Awards, six European Awards, a César Award, a Goya Award and a Golden Globe nomination. Becker’s 2015 movie Me and Kaminski, an adaptation of the novel of the same name by Daniel Kehlmann, offered a satirical and humorous perspective on the art world in a road movie studded with awkward moments and dirty tricks that takes us across half of Europe. Becker completed shooting on his final movie Berlin Hero, based on the novel by Maxim Leo, shortly before his death on 12 December 2024.
Wolfgang Becker was a storyteller skilled at weaving social and political elements into personal histories. With great attention to detail, impressive staging, and subtle, warm-hearted humour, he greatly moved and unified cinema audiences. His impact on the German film business is indisputable. Alongside his work as a director and screenplay writer, he taught at the Deutsche Film- und Fernsehakademie (dffb), Filmakademie Baden-Württemberg, and the Academy of Media Arts Cologne (KHM). Along with filmmakers Tom Tykwer, Dani Levy and Stefan Arndt, he was a co-founder of production company X Filme Creative Pool GmbH.
Selected Director’s Filmography:
2024 Berlin Hero
2015 Me and Kaminski
2009 Germany 09
2004 Bem-vindo a São Paulo
2003 Good Bye, Lenin!
1997 Life Is All You Get
1997 Sergiu Celibidache:
The Triumphant Return
1992 Child’s Play
1991 Tatort: Blutwurstwalzer
1988 Butterflies
IN CONVERSATION
WITH STEFAN ARNDT
« IT’S ACTUALLY A SENSATION
THAT THIS FILM EXISTS »
Wolfgang Becker only made a few films. He always took plenty of time between movies, but he had impeccable timing with his projects. That is demonstrated yet again in Berlin Hero. Did you know from the beginning that this would be his last project?
This is how it came about: about nine months before we began shooting, I had a conversation with Wolfgang in which he told me he knew he couldn’t beat his cancer. He had given himself two choices: the first was to revisit all the most beautiful places he knew in the world – and he had been to very many, very beautiful places; the second was to make another movie. I told him that if he took the first option, there wasn’t much I could do for him, but if he chose the second, I’d help him get it done. It was actually an impossible task: never before had I worked on a film with such little time to prepare, and with such difficult challenges in terms of financing – in part due to the director’s poor health.
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We immediately agreed what project to tackle: an adaptation of the novel by Maxim Leo, who we had already been in discussions with. We got Constantin Lieb onboard as screenwriter and came up with a unique production concept. Our idea was to bring many friends of ours together to shoot the movie. That was the only way to make this film a reality – through the commitment of people who knew Wolfgang, who had a certain wealth of experience, and who maybe had a more relaxed approach and knew about his illness and how to handle it.
I only had to ask each of them once, and the same was true of each funding source, starting with Jörg Himstedt from Hessischer Rundfunk – they all immediately gave an enthusiastic yes. Then everything happened at an incredible pace, which proves how the movie business could work if the will were there. It’s actually a sensation that this film exists. Everyone who had to make decisions about how much time and money to invest in the project consciously opted for something good, warm, maybe even a little bit nostalgic – which is something people want in these tough times.
“This story contains precisely what we yearn for: the courage of the individual to overcome seemingly unsurmountable hurdles” – those are the words of the (fictional) German President in the movie.
That was always one of Wolfgang’s themes: the battle of an individual loser, a perfectly ordinary, less than fortunate guy, against the insanity of the world. The things that happen to the hero in this story could befall any of us in today’s harsh reality.
It is a battle that takes place against the backdrop of German Reunification, like Becker’s previous films Life is All You Get and Good Bye, Lenin!
Although while making Good Bye, Lenin!, not one of us considered that East/West issue for a second. For Wolfgang and me, Good Bye, Lenin! was always going to be a movie about how far a son would be willing to go for his mother; the main character loves his mum so much that he recreates for her a country that no longer exists. It wasn’t until after the theatrical release, when the movie became such a massive hit, that this whole “Eastalgia” concept became a thing in German film and television. Suddenly, everyone was an expert. But no one remembered accurately; everyone was shaping their own truth because of course they could only remember the things that were emotionally significant to them personally. And that has nothing to do with the objective facts.
We create our own truth, which we then believe to be true: Berlin Hero is about how digital media expropriates people’s personal stories, steamrolling over them without drawing breath or pausing for even a second to check the facts. And the bigger the talking point, the more interest such stories attract. At first, it’s just a newspaper article, then it’s a TV talk show, then the President gets involved, and suddenly our hero is supposed to be giving a speech in the Reichstag building. Then comes his downfall – he is dropped and the spotlight swiftly shifts to the next victim.
By the way, we were not given permission to shoot in the Reichstag building, nor in the Federal Chancellery, nor outside Bellevue palace, where the President lives. I thought that was pretty harsh given how much Wolfgang Becker has done for German culture and German film, including for their international appeal. And what we should never forget about Wolfgang is that, however much he hated malevolent forces that wield power, he always loved this country very much.
Becker influenced the German film industry by helping along the careers of actors including Daniel Brühl, Jürgen Vogel and Christiane Paul, who were all part of the sensational cast of Berlin Hero. Was this on-camera reunion intended from the outset?
No, not at all. When we started casting we basically just agreed that Charly Hübner had to play our main character. We needed someone who absolutely exuded that warm-hearted, down-to-earth quality – and who we would be able to rely on entirely if Wolfgang got too ill to work, preferably someone who had directing experience of their own.
It was also important to us to have a strong female presence in this otherwise quite male-dominated story. That’s why we paid a lot of attention to who would play Paula and Micha’s daughter. We were thrilled when Christiane Paul and Leonie Benesch immediately said yes. And it was obviously advantageous that Christiane and Wolfgang had already worked together on Life is All You Get.
Jürgen Vogel and Daniel Brühl were also kind of like foster kids, part of the family, so to speak. Even though that was all a couple of decades ago and Daniel has since become an international superstar, we didn’t have to ask either of them twice.
Was there still a plan B for the worst-case scenario?
We had agreed that Achim von Borries would be standing by right from the start. He’s one of our oldest friends and I’ve worked on countless films with him, as well as on the TV show Babylon Berlin. Wolfgang had known him since Good Bye, Lenin! Achim has a similar directorial style to Wolfgang, with a more emotional than technical approach. He was present at all the important discussions with the heads of department and was involved in drawing up the shooting schedule and so on. But, happily, in the end Wolfgang was able to complete shooting himself, despite his illness.
When Wolfgang died shortly after we wrapped, it was a crazy shock. Just two days beforehand I’d had a two-hour phone call with him, just about typical producer-director stuff. He had finally been away on holiday, ten days on a Spanish island, and was planning to invite us to a Christmas dinner. We spoke about standard boring stuff. He was in a really good mood. Then he went to bed in the evening and never woke up again.
Before he passed away, Wolfgang Becker was able to view the first rough cut of the film, and he was very happy with it. Berlin Hero is a true, even quintessential, Wolfgang Becker movie that makes audiences laugh, cry and think all at once.
That’s the wonderful thing about Wolfgang’s films: just as you’re wiping away tears because something really sad happened you’re able to release those feelings with a laugh – and that’s so liberating because you’ve been reminded of how hard life can be. But, for me, this film is the story of a man no longer in his prime who discovers that real love is still possible – love between two people connected by something that transcends superficialities. It’s such a poignant moment when Charly Hübner and Christiane Paul are sitting together in the Japanese eatery at the end of the movie and he rests his head on her shoulder.
Wolfgang had so many ideas and opinions and stances that his films never simply told a story. Of course, on the one hand the movie is about the mythologising of this mass escape and about how the modern media treat their heroes. On the other hand, however, it’s about the difficulty grown adults have nowadays finding love and dealing with that whole situation. Wolfgang and I had always promised one another we would shoot a love story together some day – a grown-up romantic movie without those cheesy big-screen sex scenes. Ultimately, Wolfgang was able to achieve that.
MAIN CAST
BIOGRAPHY
CHARLY HÜBNER
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After completing his actor training at the Ernst Busch University of Theatre Arts Berlin, Charly Hübner worked only on the stage until 2003 – including at Schauspiel Frankfurt and Theater am Turm, both in Frankfurt am Main, and in guest appearances at the Schaubühne in Berlin. In 1996 he was awarded the Friedrich-Luft-Preis for his role in Christmas at the Ivanovs’ and the best actor award at the national drama school competition in Chemnitz.
His career in television began in 2003, when he appeared in shows such as Wenn Weihnachten wahr wird, directed by Sherry Hormann, who also directed Hübner’s cinema debut that same year: Guys and Balls. Further movie roles followed in Eoin Moore’s No Sweat (2005), Florian Henckel von Donnersmarck’s Oscar-winning East German secret police drama The Lives of Others (2006), and Bastian Günther’s Autopilots (2007). From 2007, Hübner was back on stage in Zurich, Cologne and Hamburg. From 2008 to 2013 he teamed up with Anke Engelke, appearing in sketches in her TV comedy series Ladykracher, which won several awards including a German Comedy Award and a German Television Award. From 2010 to 2022 he played detective Alexander Bukow, alongside partner Anneke Kim Sarnau, in the Rostock edition of long-running police drama Police Call 110. For that role, in 2013 he received a Bavarian Film Award and a Metropolis award from the German Directors Guild, and in 2014 a Jupiter Award.
In 2013 Hübner received a Goldene Kamera award for his role in the critically acclaimed psychological thriller The Good Neighbour. That same year, the multifaceted actor starred in the drama Eltern alongside Christiane Paul, as the father of two children. Next came Alexandre Powelz’s Ohne Dich (2014); the first in Detlev Buck’s film series Bibi & Tina (2014-2022); and award-winning tragicomic TV series Open the Wall, directed by Christian Schwochow, for which Hübner received the best actor award at the Baden-Baden television festival in 2014 and a Grimme Award in 2015. Open the Wall also won a Bambi award for TV Event of the Year. In 2015 Hübner appeared in the TV movies Vorsicht vor Leuten, Anderst schön and The Lost Brother, and received a German Comedy Award as best actor. Now a resident of Hamburg, Hübner returned to the stage, in plays including The Idiot, Uncle Vanya, and Crime and Punishment. For his roles in the latter two at the Deutsches Schauspielhaus in Hamburg, Hübner was awarded the Gertrud-Eysoldt-Ring in 2015. Additional movie roles followed in, for example, Adolf Winkelmann’s Young Light (2016), set in the Ruhr industrial region; Maria Schrader’s Stefan Zweig: Farewell to Europe (2016); and Andreas Dresen’s The Legend of Timm Thaler or The Boy Who Sold His Laughter (2017).
He had subsequent movie roles in Arne Feldhusen’s Magical Mystery or The Return of Karl Schmidt (2017), based on the novel by Sven Regener; Lars Jessen’s TV comedy Lonely Knights, which won a Goldene Kamera in 2018; Lola Randl’s Do You Sometimes Feel Burned Out and Empty?; and Emily Atef’s 3 Days in Quibéron (2018). In 2018 his directorial debut, Wildes Herz, appeared in cinemas – a documentary about popular German punk band Feine Sahne Fischfilet and its frontman Jan “Monchi” Gorkow. In 2019 he appeared in the WDR film and miniseries Klassentreffen; in 2020 in Matti Geschonneck’s miniseries Unterleuten: The Torn Village, adapted from the Juli Zeh novel, and in Hermine Huntgeburth’s film adaptation of the life of German musician Udo Lindenberg, Lindenberg! Mach Dein Ding. He also starred in the Sky series Hausen; the ZDF film Das Verhör in der Nacht; Jan Georg Schütte’s improv film Für immer Sommer 90 (Grimme Award 2021); the TV shows Das Begräbnis and Kranitz; Andreas Dresen’s prizewinning Rabiye Kurnaz vs. George W. Bush (2022); and the book adaptations Mittagsstunde (2022) and Dark Satellites (2022).
Hübner has also worked as a voice actor, for example in the German dub of Asterix: The Secret of The Magic Potion (2018). He is also the author of the book Motörhead oder Warum ich James Last dankbar sein sollte (Kiepenhauer & Witsch). In 2023 he appeared in Lars Jessen’s RTL+ series Legend of Wacken; celebrated the premiere of his first full-length feature film as a director, Sophia, Death and Me; and was part of the cast of ARD improv series Das Fest der Liebe. In 2024 he played the leading role in Micha Thinks Big by Lars Jessen and Jan Georg Schütte, before shooting a documentary that accompanies the band Element of Crime, whose music has provided its listeners with comfort and insight for nearly 40 years now. Also in 2024, Hübner published another book, Wenn du wüsstest, was ich weiß... Der Autor meines Lebens (Suhrkamp), an homage to East German writer Uwe Johnson and a declaration of love to reading. Most recently, he played the main character in an episode of David Schalko’s ARD series Warum ich? and in Wolfgang Becker’s final film Berlin Hero.
CHRISTIANE PAUL
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Christiane Paul was born in East Berlin in 1974 and is one of the most successful and prolific female German actors of her generation. She was discovered as a model shortly after the fall of the Wall and had her movie debut aged 17 in Niklaus Schilling’s Reunification satire Deutschfieber (1991). Alongside her acting career, Paul finished high school and studied medicine, graduating as a doctor in 2002. She has dedicated herself entirely to acting since 2004.
In 1993 Paul starred in her first leading role, alongside Götz George, in Ich und Christine. She attracted more attention in Mark Schlichter’s 1996 thriller Ex, receiving the Max-Ophüls-Preis for best up-and-coming actress. That same year, she received a Bavarian Film Award for her starring role alongside Tobias Moretti and Ralf Bauer in Sharon von Wietersheim’s romantic comedy Workaholic. After playing a supporting role in Til Schweiger’s Knockin’ On Heaven’s Door (1997), she then experienced her greatest success to date, starring alongside Jürgen Vogel in Wolfgang Becker’s critically acclaimed tragicomedy Life is All You Get (1997). A year later she again worked with Jürgen Vogel, in Bernd Schadewald’s TV drama Der Pirat. She had her big cinematic breakthrough as the heroine of Fatih Akin’s road movie In July (2000).
Her other cinema credits include Dani Levy’s I’m the Father (2002); Eoin Moore’s No Sweat (2005); Ralf Huettner’s A Mere Formality (2006); Thomas Heinemann’s Vorne ist verdammt weit weg (2007); Dennis Gansel’s multi-award-winning parable of fascism The Wave (2008), again alongside Jürgen Vogel; and Ben Verbong’s tragicomedy Ob ihr wollt oder nicht (2009). She portrayed the mother of two cheeky young vampires in the three-part children’s film series Vampire Sisters (2012, 2014, 2016), based on the novels by Franziska Gehm. In 2017 she was nominated for a German Film Award for her role in Dani Levy’s Wunderlich’s World (2016). Florian Koerner von Gustorf’s What Might Have Been had its world premiere at the 2019 Munich International Film Festival. In it, Paul played the film’s main character – a former citizen of the defunct German Democratic Republic who unexpectedly re-encounters her first great love. Subsequent movie roles included multi-award-winning migration drama Borga (2020); the comedy It’s Just a Phase, Honeybunny (2021), based on a book by Jochen Gutsch and Maxim Leo; and a remake of The Robber Hotzenplotz (2022), based on the children’s book of the same name. Paul was also part of the large ensemble cast of Rolf Peter Kahl’s The Investigation (2024), appearing as a witness in the first Frankfurt Auschwitz trials. She can currently be seen in American movie theatres alongside Lili Reinhart in the thriller American Sweatshop.
Paul has acted in numerous top-level television shows and movies, including the thriller Under the Radar, for which she received the Best Actress International Emmy Award in 2016, and the drama Der Fall Bruckner, which received the Grimme Award. From 2018 to 2019 she played ambitious detective Ann Kathrin Klaasen in the ZDF Saturday crime series Ostfriesenblut. The director was Sven Bohse, who she also worked with on the Tatort episode “Borowski und das Land zwischen den Meeren”. She starred in the eight-part Sky apocalyptic drama 8 Days, which premiered at the 2019 Berlinale, and was among the cast of the first season of Franco-German series Parlement and American series FBI: International. In 2026 she will be appearing in the second season of the successful Apple TV+ series Hijack.
Paul has also worked in the theatre. In 2004, for example, she appeared in a production of Heiner Müller’s The Mission at Haus der Berliner Festspiele, and in 2008 she was in Anton Chekhov’s Ivanov at Düsseldorfer Schauspielhaus. She is currently appearing in Franz Kafka’s The Trial at Berlin’s Maxim Gorki Theater.
LEON ULLRICH
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Born in Hamburg in 1983, Leon Ullrich initially read media culture and German studies in his home city before moving on to study acting at the Berlin University of the Arts. From 2008 to 2010 he was a member of the Maxim Gorki Theater ensemble, before being hired by Schauspielhaus Graz. After that he had guest appearances at, for example, Theater Bremen and the Schaubühne in Berlin, and he performed in his own documentary theatre series at Berlin’s Ballhaus Ost.
Ullrich has worked in film and television since 2013. For example, he appeared in Simon Verhoeven’s comedy Nightlife (2020) and Luis Schubert’s short Blind Spots, which premiered at the Hof International Film Festival. He has also acted in a large number of TV series, with recurring roles in the Dresden edition of Tatort, the ZDFneo sitcom Doppelhaushälfte, Dustin Loose’s crime drama Divided We Stand; and Other People’s Money. For his appearance in the second season of ZDF’s political sitcom Eichwald, MdB, directed by Fabian Möhrke, in 2020 Ullrich received the Deutscher Schauspielpreis for best actor in a comedy role. In 2023 he was part of the ensemble in David Wnendt’s Sun and Concrete, which was also awarded a Deutscher Schauspielpreis. The film also received multiple nominations for a German Film Award. Most recently, Ullrich was in Hamburg shooting the feature film "Sommer auf Asphalt" (working title) with Mala Emde and Christoph-Maria Herbst.
MAIN
CREW
Director: Wolfgang Becker
Writer: Constantin Lieb, Wolfgang Becker
Based on the book by: Maxim Leo
Producers: Stefan Arndt, Achim von Borries
Co-Producer: Julia Golembiowski
Executive Producers: Ivan Samokhvalov, Alexander Tsekalo, Markus Loges
Director of Photography: Bernd Fischer
Editor: Jörg Hauschild
Production Design: Claus-Jürgen Pfeiffer
Set Design: Rebecca Hanke, Vanessa Locke
Costume Design: Anne-Gret Oehme
Make Up: Lena Lazzarotto, Jeanne Gröllmann
Sound: Johannes Hampel, Kai Tebbel
Music: Lorenz Dangel
Casting: Susa Marquardt
Line Producer: Martin Hämer
HR: Jörg Himstedt
TECHNICAL
DETAILS
Original title: Der Held vom Bahnhof Friedrichstraße
International title: Berlin Hero
Duration: 112 min
Aspect Ratio: 1:85:1
Sound: 5.1
Year: 2025
Original language: German
Country of production: Germany
Production Companies: X Filme Creative Pool
Co-production Companies: HR (Redaktion: Jörg Himstedt), Kalamata Film, Pergamon Film, Koryphäen Film
With the support of: Deutscher Filmförderfond (DFFF), Filmförderanstalt (FFA), Kulturelle Filmförderung (BKM), Medienboard Berlin-Brandenburg, Mitteldeutsche Medienförderung