Daniel Sponsel From The HFF Munich: Return And Departure

You have been associated with HFF Munich for decades – first as a student, later as a lecturer – and in October you will take over the office of university president. Do you have a favorite film by an HFF graduate?

Daniel Sponsel: That's not so easy to answer because there are an incredible number of great films by HFF graduates. But one that has stuck in my mind in particular is “The Forest for the Trees” by Maren Ade. It was her graduation film at the HFF and I was there at the development screening in the cinema. The movie really impressed me.

What exactly fascinated you?

Sponsel: It's a very sensitively drawn psychogram of a teacher who withdraws and isolates herself further and further in an exceptional emotional situation. The cast is rather reduced, which gives the whole thing something of a chamber play feel – even if the school and the town are definitely present. Nevertheless, the focus is clearly on the inner life of the main character. Maren Ade tells her story with a very unique cinematic style.

Munich plays an important role in the German film landscape

You studied at the HFF in the 90s.What has changed there since then?

Sponsel: The first thing that stands out is the location.Back then, the university was housed in an old bedspring factory behind the Giesing train station. Today it is located in Gabelsberger Straße, right in the heart of the city. The new building is in a different league architecturally.A lot has also changed in terms of content:The courses have become more diverse and specialized.Topics such as artificial intelligence are now part of the curriculum. At the same time, ethical topics have become more of a focus - for example, intimacy training for film productions.

What role does the HFF play for the Bavarian and German film and media landscape?

Sponsel: A very big one.Berlin naturally attracts a lot of attention with the Berlinale and its international appeal. But Munich also has a lot to offer.Many HFF graduates stay here after graduation and shape the local scene, while others influence the media scene in Germany and beyond.

Please give some examples.

Sponsel: One example is the production company Wiedemann & Berg, founded by HFF graduates Max Wiedemann and Quirin Berg, who won an Oscar with “The Lives of Others”. And most recently, HFF graduates were delighted to receive an Oscar nomination for “September 5” - a film about the Olympic bombing in Munich. And the continuation of such successes with strong international visibility is already underway: the HFF graduation film by a documentary film student was invited to the Cannes Film Festival this year by the Semaine de la Critique. This list of examples could go on and on. Many formative impulses come from the HFF and its graduates - from screenwriting to directing and cinematography to production.

How does the university promote international careers?

Sponsel: The university cannot directly open doors to an international career, but it does create a solid foundation. For example, by inviting international lecturers and analyzing international films in the seminars. Attending festivals abroad is also part of this and the HFF's own International Office facilitates exchange programs at film schools worldwide as well as mentoring and residency formats that are internationally oriented - all of these are opportunities to make initial contacts and develop a feel for the global market. This creates an environment that does not guarantee international careers, but makes them more likely.

Do you already have plans for your first activities in your new position?

Sponsel: In the first few months, I would like to talk to as many people as possible at the university - both with employees to find out their opinions and needs from the various departments, as well as with students. We are also facing a major challenge with the switch to Bachelor's and Master's degrees, which we have to successfully master by 2027 in accordance with the university agreement. This task will require a lot of effort, but I am confident that we will master it together.

Are there any organizations with which you would like to work more closely?

Sponsel: At the last Berlinale, I refreshed old contacts – for example with “Kleines Fernsehspiel” at ZDF, with whom I worked a few years ago. The contact with BR is already intensive and should remain so. In addition, I would like to promote cooperation with streaming services and production companies.

You last directed the DOK.fest in Munich for 16 years. What do you take away from your time at the festival that you can now put to good use?

Sponsel: Above all, I'm taking a wide-ranging network with me - across all genres. A festival is also a continuous training opportunity: You see countless projects, formats and ways of working, which sharpens your eye for quality and trends. Teamwork also played an important role - after all, I coordinated teams of several dozen people with different tasks. Last but not least, my involvement in the AG DOK, the AG Filmfestival and the administrative board of the German Federal Film Board (FFA) gave me valuable insights into national film policy.

You studied documentary film directing and have already received several awards for your films. How do you assess the current importance of documentary film in Germany?

Sponsel: On the one hand, the social relevance and cultural significance of documentary film is high. Numerous impressive works have been produced in recent years - such as the Oscar-winning documentary “Citizenfour” about Edward Snowden. Documentary films are therefore undoubtedly important and are perceived accordingly. Paradoxically, the development on a structural level is going in the opposite direction: broadcasters' budgets for documentaries are shrinking instead of growing, and the number of slots for documentaries is also decreasing. I very much regret this development.

What do you think of documentary filmmakers on platforms like YouTube who may never have studied film, often work with simple means and still get a lot of clicks?

Sponsel: It's now impossible to imagine life without it and it definitely has its positive sides: There are no longer any gatekeepers deciding which film you can realize and under what conditions. You can just get started. On the other hand, if many people work with minimal budgets and possibly exploit themselves, this can destabilize the market and price structures in the long term. For the professional sector, which is dependent on solid financial resources, it then becomes increasingly difficult to assert itself.

Demand for cinema, television, streaming and advertising is not diminishing

What do you think about the use of AI in the film industry?

Sponsel: The genie is out of the bottle - AI can no longer be turned back. Especially for less creative but time-consuming tasks, its use has long been a reality and makes perfect sense. At the moment, it's hard to predict where the journey will take us. However, one thing is clear: it is detrimental to quality if content-related weaknesses or errors are passed on. After all, AI feeds on what already exists and cannot produce genuine human ingenuity or creative disorder. We also face fundamental questions when it comes to AI: what happens to copyright? And who will end up consuming this AI-generated content - possibly the AI itself to generate clicks? We need to find answers to these and other questions.

In conclusion: Where will the Bavarian film industry be in five years' time?

Sponsel: I'm optimistic about that. The demand for cinematic storytelling - whether in cinemas, on television, on streaming platforms or in areas such as corporate communications and advertising - will not diminish. And Bavaria traditionally plays a strong role in this, with its production companies and well-trained professionals. Incidentally, Bavaria is not only excellently positioned with Munich as a location for film-related courses of study. The universities in Ansbach and Deggendorf also offer exciting courses in this field.