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Monika Schindler – Master Editor
By Dorothea Holloway | March 13, 2013
In photo: Monika Schindler with director Roland Gräf, courtesy Film+
Congratulations, dear Monika Schindler, on being presented with the Geissendörfer Honorary Award for Editing and having your work as a film editor celebrated with an homage at Film+ in Cologne November 2010.
Ron would have been certain to also want to congratulate you as he had been looking forward to working with you again on his unfinished documentary about Alexey German (cf. KINO – German Film, No. 93, 2008). An extensive and highly informative interview conducted by Oliver Baumgarten with Monika Schindler can be found in the December 2010 issue of Film & TV Kameramann. Baumgarten was also responsible for the Film+ homage which included such films as Hermann Zschoche’s Bürgschaft für ein Jahr (1981) and Roland Gräf’s Der Tangospieler (1990). Zschoche and Gräf both spoke in formal addresses about Schindler’s work before the screenings of their films, and she was also honoured at a public workshop by the Bundesverband Filmschnitt Editor e.V.
Schindler, who began working as a film editor in the DEFA Studio for Feature Films in 1961, also collaborated on a regular basis with such directors as Egon Günther, Günter Reisch and Andreas Dresen. The latter’s films Nachtgestalten (Night Shapes, 1999) and Die Polizistin (2000) – which won Schindler the editing prize in the feature film category at the first edition of Film+ in 2001 – are among my favourite films.Monika, who now also teaches the next generation of editors at the HFF in Munich, received a German Film Award in 2000 for her editing of Gordian Maugg’s Hans Warns – Mein 20. Jahrhundert. She also manned the editing table for films by Helma Sanders-Brahms and Stefan Krohmer as well as for Ron Holloway on the 1994 documentary Parajanov – A Requiem, with Thomas Schwan as cinematographer. Gordian Maugg served as artistic collaborator and was such a wonderful support for Ron.
From KINO – German Film No. 99, February 2011, p. 34.
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