“… The picture was directed by Cordula Kablitz-Post, who has sporadically filmed the band for more than ten years. What difficulties does one confront while shooting a tour film? ‘The band is used to always being surrounded by cameras. The greater challenge was to get the band’s crew used to our constant presence,’ she explains.

Reciprocal habituation was important to everyone

After all, there are 150 employees involved in a Toten Hosen concert. ‘But after two or three concerts, the trust was absolutely there on all sides,’ she says.
What was it like having a camera team around all the time? Campino: ‘We quickly got used to it because the cameras were always there and in our faces. But naturally, sometimes someone got in the way and had to be slapped down,’ he grins. ‘But the next day, at the latest, that was all bygones.’
In any case, Cordula Kablitz-Post, like Campino and the band, is satisfied with the 100-minute work. ‘The fact that we’re screening in 451 cinemas is absolutely nuts. It has Star Wars proportions.'”

Source: Express, March 26th 2019

“… They are also the focus of the film You Only Live Once, which Cordula Kablitz-Post shot last year about Die Toten Hosen on tour. With this film, the Berlinale is heading towards its emotional climax. In any case, tickets for Friday’s premiere sold out within seconds.
It may not be the first film about the Tote Hosen, but it shows them at the height of their fame. The director followed the band through various German cities, over to Switzerland and all the way to Argentina, gleaning unlimited access and fathoming the ‘special relationship,’ in the words of Breiti, which links the Hosen and their entourage. By the end, she had 190 hours of material.

Initially, the Hosen weren’t exactly keen on the idea

One year beforehand, Kablitz-Post’s inquiry for a close-up portrait had been rebuffed. The award-winning film and television producer (Durch die Nacht mit…/Through the Night with…) knew Campino from an earlier portrait she had shot in 2009 as part of the ARD television series Deutschland, deine Künstler (Germany, Your Artists). But that didn’t help. Initially, the Hosen weren’t exactly keen on the idea. Only as they experienced how the tour was developing, according to Breiti, did they come to like the idea of letting the curtain fall a little and maybe ‘not always depicting themselves in the best light.’

The call reached Kablitz-Post a year ago during the Berlinale. The band’s management said, ‘we want to do it after all.’ When? ‘In four weeks.’
Impossible. A typical TV budget, which might’ve been raised in this short period, wouldn’t have covered the cost of a cinematic production. Kablitz-Post thought she’d need about 800,000 euros. In the end, it was a bit more. Although it usually takes three months to run something by film funding bodies, she succeeded.
They’d been thinking about ‘Some Kind of Monster,’ says Breiti about the band’s motives. He’s referring to the legendary documentary about Metallica, the world’s biggest metal band, who were in a seriously destructive phase in 2007 after the departure of their bassist. But nonetheless, the rock stars let a film team in the studio to watch them talk about their dysfunctional relationships in regular therapy sessions, and to witness them at each other’s throats as old grudges resurfaced. ‘Which certainly didn’t always make them come across positively,’ Breiti concedes, ‘but actually deepened my personal relationship to them. We hope as much for this film: that people who like our music will better understand what sets up apart.’

Die Toten Hosen, however, are not in a crisis. Nor are they a band with deep-seated conflicts. If there have ever been such things, they’ve been dealt with. They parcelled out their little empire of record company, concert agency and various political campaigns according to their respective abilities. They’re so much in cahoots with one another that strangers find it, on the one hand, very easy to gain access to the innermost circle of this ‘family,’ and on the other hand very hard because these are five men in their mid-fifties who never quite open up. They don’t have to, they understand each other as it is. This is even true for drummer Vom Ritchie, who, despite being a band member for over 20 years, senses a barrier preventing him from full membership.

‘We were met with great scepticism in the beginning,’ says Kablitz-Post, who chased the sweat-drenched ‘Opel Gang’ from the stage to the dressing room, capturing Campino’s moody character, bizarre vocal exercises, and wish to be left alone. ‘There were situations where we annoyed them with the constant presence of the camera,’ says Kablitz-Post. But nothing more than a towel ever flew in her direction, and even then Campino missed.

So it wasn’t possible to create a German version of ‘Some Kind of Monster.’ Die Toten Hosen are a clockwork mechanism, and the only problem they have is the time that remains to them.

‘How many years can this go on?
How many years, how much time is left for us?
We’ve been on the road half a lifetime already
Hasta La Muerte is what we etched into our skin’”

Source:, February 15th 2019

“… There they are: the women, flags in hand, on the shoulders of the men. Pyros are lighting up, fans surf the crowd or crash into each other like pogoing bowling pins. Everything seems wild, unchained, disordered – yet it’s not. It’s a huge ceremony in which the fans, who span generations, leave life behind for two or three hours and remember what the band itself calls the ‘old fever.’ All of this is brilliantly captured in impressive images.”

Source:, March 20th 2019

“… Band and management gave their consent to this new tour documentary, which was planned from the outset for the cinema and belongs there, especially on account of its opulent sound.”

Source: Weser Kurier, March 20th 2019

“… Then the planned and expected is interrupted: the cameras capture how the tour has to be broken off in the middle of setting up at Berlin’s Waldbühne because Campino has suffered sudden hearing impairment. Paul Dugdale, director of stage recording, had only captured two concerts by then. Director Cordula Kablitz-Post uses the five-week enforced break to conduct intensive conversations with the musicians, during which the Hosen reflect on their career and the line ‘because you only live once’ gains greater urgency.”

Source: Berliner Zeitung, March 26th 2019

“… That’s why fans like me love the band! And in the documentary ‘You Only Live Once – Die Toten Hosen on Tour,’ for which Cordula Kablitz-Post accompanied the group on their 2017/2018 tour through Germany, Switzerland and Argentina, the Hosen still come across as they’ve presented themselves to their fans over the years from stages large and small and in countless interviews: down-to-earth, ever ready and certainly imperfect. The openness of the Hosen is always attractive and sometimes damn funny.”

“Cordula Kablitz-Post, a companion to the band for over ten years, continually contrasts concert footage with images of the sometimes grey daily tour routine of rehearsing, driving and sitting around. In doing so, she shoots down the romanticized image of rock star life and indeed shows the Hosen as a regular band that still reliably strikes bum notes even after 35 years, many a radio hit, and incessant practice. The guys simply don’t sound like a break-it-till-you-make-it punk group, nor like a well-greased professional band.”


LOU ANDREAS-SALOMÉ press reviews

„Mit dem formal wie inhaltlich herausragenden Portrait der titelgebenden Philosophin gibt die Spezialistin für TV-Biografien Cordula Kablitz-Post ihr Leinwand-Debüt. Sie bleibt nah bei ihrer Hauptfigur, beginnt 1933, springt in Rückblenden durch die Dekaden und lässt die Protagonistin von vier Schauspielerinnen verkörpern, die alle stark aufspielen. Kameramann Matthias Schellenberg lässt Lou Andreas-Salomé bei Ortswechseln durch dreidimensionale Postkartenlandschaften spazieren. Judit Varga liefert den minimalistischen Score zum spannenden und fordernden Biopic.“

Quelle: Blickpunkt Film, 20.06.2016

“Director Cordula Kablitz-Post’s ‘Lou Andreas-Salomé,’ about the philosopher, writer and psychoanalyst of the same name might have an uninspired film title but is absolutely worth seeing on both for its form as well as its content. In about two hours, the filmmaker, who has made a name for herself through her television biographies about Nina Hagen, Mickey Rourke, and Christoph Schlingensief, presents insights into the life of an extremely intelligent, emancipated and self assertive woman who was far ahead of her time. At the center of the biopic about Lou Andreas-Salomé, who was born in St. Petersburg in 1861 and died in Gottingen in 1861, are the moving relationships with her celebrated contemporaries Friedrich Nietzsche – whom she admired, Rainer Maria Rilke – whom she loved, and Sigmund Freud – who appreciated her sharp intellect. Kablitz-Post, however, is not focused on historical celebrities here, and remains very close to her main character, beginning the narrative in the fateful year 1933 and jumping back in time through the decades around the turn of the century.

Instead of using effects and make-up, she has four actresses embody the protagonist. Helen Pieske (as a child), Liv Lisa Fries (as a rebellious teenager) , Katharina Lorenz (with the well-earned majority of screen time) and Nicole Heesters (as the 72-year-old Lou) meet the challenge excellently. Thus evolves not only the image of a woman who defies all conventions, but also that of a whole epoch which leads from St. Petersburg through Rome and Vienna through to Berlin. Credit for a significant part of the formal brilliance of the film is deserved by Director of Photography Matthias Schellenberg (‘The Years of Plenty are Over’), who always has Andreas-Salomé always walking through a three-dimensional postcard landscape at the change of a location, and Judit Varga, whose minimalistic music are partly reminiscent of Michael Nyman’s formidable compositions For Peter Greenaway. Rarely was a biopic about an artist personality so exciting, instructive, so entertaining and demanding at the same time.”

Source: Point of view: Film

“The director Cordula Kablitz-Post now pays tribute to the writer, lyricist and philosopher, which captivates with a strong ensemble and narrative ease.”

Source: PROGRAMMINO.DE, 15.06.2016

“An impressive portrait of an extraordinary woman who shaped German cultural history in an unexpected way.”

“Great biopic”


“Cordula Kablitz-Post had until now been known through documentaries about Christoph Schlingensief and Pierre Brice. Here she has set a cinematic monument to this woman about whom far too little is known today. In ‘Lou Andreas-Salomé’, the protagonist is portrayed by four actresses in different phases of her life. Katharina Lorenz has the most important role, the others are Nicole Heesters, Liv Lisa Fries and Helena Pieske. The strong cast also includes Alexander Scheer and Peter Simonischek. The director lets her walk around the city through three-dimensional postcards, an unusual dramatic idea in a film which is convincing in its visual imagery.”

Source: Hamburger Abendblatt (supplement "Live"), 30.06.2016

“Cleverly Made Biopic”

“All the better that director Cordula Kablitz-Post’s biopic sets a worthy memorial for her. The background story is cleve, with dramaturgy that has intrinsic value; the cinematic effects (postcard world!) are skillful, the acting strong.”

Source: Hamburg pur, 06/2016

“The documentary filmmaker Cordula Kablitz-Post, turns to the philosopher and psychoanalyst Lou Andreas-Salomé in her feature film debut. Supported by the sovereign acting of Katharina Lorenz, who embodies Lou as a 21-50-year-old, the director also vividly draws the image of a strong woman who was far ahead of her time in terms of female self-determination and fulfillment. Fascinating: The Old postcards. Recreated background world by the superior production designer Nicolai Ritter.”

Source: Dresdner Latest news, 30 June 2016

“Cordula Kablitz-Post, the specialist for TV biographies, has her screen debut with a portrait which is interesting in form as well as content of the person for whom the film is named.”

Source: Berliner Zeitung, 30 June 2016

“A woman makes her way. The life of Lou Andreas-Salomé, one of the first emancipated women in Central Europe, captured with cinematic excellence by director Cordula Kablitz-Post. The amusing and intense film can be seen for example at the Mannheimer Odeon or the Heidelberg camera.”

Source: Mannheimer Morgen, 30.06.2016

“An impressive docudrama about a very extraordinary woman.”

Source: ELLE, 07/2016

“A great portrait!”

Source: MY WAY, 07/2016