Screened as part of NZIFF 2014

Stations of the Cross 2014


Directed by Dietrich Bruggemann World

Fourteen-year-old Maria resolves on a life of self-denial in a provocatively ambiguous drama, edged with satire, about a German family dedicated to an ultra-conservative strand of Catholicism.

Germany In German with English subtitles
107 minutes CinemaScope / DCP


Jochen Laube
Lief Alexis
Fabian Maubach


Anna Brüggemann
Dietrich Brüggemann


Alexander Sass


Vincent Assmann

Production designer

Klaus-Peter Platten

Costume designer

Bettina Marx


Jacob Ilgner


Lea van Acken (Maria)
Franziska Weisz (mother)
Florian Stetter (Father Weber)
Lucie Aron (Bernadette)
Moritz Knapp (Christian)
Michael Kamp (father)
Hanns Zischler (mortician)
Birge Schade (sports teacher)
Georg Wesch (Thomas)
Ramin Yazdani (physician)


Best Screenplay
Berlin International Film Festival 2014


Berlin 2014

Proudly Supported by Goethe Institut


A 14-year-old girl’s commitment to the extreme tenets of a conservative Roman Catholic sect is traced with a mix of compassion and irony in a film likely to rile the faithful and the faithless alike. Dedicated to self-denial, young Maria is tormented by the scrutiny of her fanatically observant mother and disconcerted by her feelings for a boy whose appetite for music has not stopped at Bach cantatas. Though his film is formally precise – enacted within a series of tableaux named for the Stations of the Cross – you may never know exactly where on the faith spectrum director Dietrich Brüggemann is coming from: a place of uncertainty, perhaps? What’s utterly sure is the heartbreaking credibility of young Lea van Acken as Maria. The script, which attains a spellbinding clarity of thought and emotion in her most direct encounters with her priest, won Best Script in Berlin this year.

“Made in a small number of shots, each framed and timed to perfection by a dazzlingly accurate ensemble cast and crew… Stations of the Cross nonetheless comes with a bigger surprise: its ‘wicked’ sense of humour, which only enhances its perfect poise between belief and scepticism.” — Nick James, Sight & Sound


Proudly supported by Goethe Institut