I'm not goku, but I will talk a bit about German productions.
I personally think, that German productions are often underrated and just an little fact, some big and famous US productions are also produced in Germany in Babelsberg like The hunger Games, Inglourious Basterds, Asteroid City... (see lot more on:
https://www.studiobabelsberg.com/en/references/film/). But all that productions are not initiated by German movie makers.
Anyway... the problem is a bit more complex. A german Showmoderator Jan Böhmermann create a show called "Das Problem der deutschen Filmlandschaft" (The problem of the German film landscape / Link:
https://www.youtube.com/watch?v=ie8vV-p1OL4) and he talking a lot about the problem He named three facts around the "important content" who I can confirm around most German movies who are running in the cinema. Most of them where very successfully.
1. "An asshole with an heart of gold found the big love" (It's like Kokowääh, Fuck You Ghöte, Keinohrhasen...)
2. "Young people get tragic diagnosis and go on a trip" (Like Vincent will Meer, Knocking on heavens door, Der geilste Tag)
3. "Nazi, World War, GDR" (Like, Sophie Scholl, Das Boot, Der Untergang...)
So if you are watching the topics you will recognize that there is not so much what can be special or outstanding, because it's often the same again and again and again.
Another big problem about Böhmermann talking, is the film grant.
I will try to to write it down, what's going on in this area:
German film funding consists of many different film funding bodies to which one can apply for funds. As is usual for Germany, there is of course a lot of bureaucracy involved. According to his statements, it sometimes takes up to 7 years to get funding.
But unfortunately it goes even further. The German Film Fund primarily wants to fund films where they believe that many people go to the German cinema to simply collect money. But this calculation does not work, because hardly anyone wants to see a film in the cinema that was produced in Germany.
Then there is the fact that the German TV stations are also behind the film promoters, including of course private TV stations that have their own ideas about what we film lovers should like. The Medienbord Berlin/Brandenburg follows a completely different path. Here, a single person (Kirsten Niehuus) decides what is promoted and has done so for 17 years.
These were now a few excerpts from the show.
Exceptional German films like to go their very own way. In the case of the film "Die Königin von Niendorf" (The Queen of Niendorf), the company completely dispensed with public funding and relied solely on donations, specifically relying on actors on loan and foregoing salaries.
The film is considered one of the best children's films in Germany for a long time.
However, there are also the odd lapses in traditional film funding. This is what happened (by mistake?) with "Systemsprenger". A film that completely broke the typical rules of German film and (surprise) was totally successful.
Personally, however, I continue to believe in German film and always have the hope that, in addition to all the ratings nonsense, special films will also be released. My feeling is that this usually works quite well with children's films, which are not nearly as well advertised as the "hopeful box office hits". Whereby also with the child film a few black creations exist like e.g. Bibi & Tina of Detlev Buck or the recent Hanni & Nanni films those in all their parts again and again the absolutely same pattern exhibit because it already worked well with the first film. So the theme is completely exhausted until no one can stand it anymore.
https://www.imdb.com/title/tt20863760/
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